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CATALOGUE
SANSKRIT
MANUSCRIPTS
a .
pal
; ,
5 a it
; J oa
re j
2 ii
:
A
DESCRIPTIVE CATALOGUE
OF THE
SANSKRIT MANUSCRIPTS
IN THE COLLECTIONS
-
THE ASTATIC SOCIETY OF BENGAL.
BY
MAHAMAHOPADHYAYA HARAPRASADA SHASTRI,
C.1.E., M.A., D.Lrer., F.A.S.B.
Philological Secretary, Asiatic Society of Benga},
and Honorary Member, Royal Asiatic Society of Great Britain and Ireland,
VOLUME VI.
VYAKARANA MANUSCRIPTS.
PRINTED AT THE BAPTIST MISSION PRESS.
PUBLISHED BY THE ASIATIC SOOIETY OF BENGAL,
a
CALCUTTA.
1931.
OOS
“3 ln
ee a eer
<a ——aE a
|
<7
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FG ASN Ow ee’ >
PS IS eSBs yates
—<
SYNOPSIS OF
Page
l. Synopsis of Contents of Preface iv—3
2. Introduction ‘4 % v
3. Preface wg Vi
I.) Grammar = XXXVILi
Il. Lexicography .. CXix
Vil. Chandah-Sastra (Prosody) cliv
TV. Alanka&ra (Rhetoric) elxviil
4. Catalogue _ és l
(A) VYAKARANA .. -
I. Piinimi, Astadhyayi _ l
Il. Weeasts ae ‘a 28
IIt. Philosophy and Technieal
Rules of Panini a 5d
IV. Subsidiary Treatises of th
School of Panini = 70
V. Later Schools of Grammar S4
(L) INalapa 7 S4
(2) Vararuci 4 110
(3) Candra ¥ 115
(4) Cafigu — es - 118
(5) Sarasvata ate 6s 123
CONTENTS.
(S) Siddhanta-candrike pe
(7) Samksipta-sSra
(S) Hema-candra z
(9) Mugdha-bodha
(10) Supadma -
VI. Grammatical Treatises of
no School “
VII. Prakrta Grammars
(B) Kosa or Lexicon GENERAL
l. Lexicon special (Ekaksa-
radikosa) ox ate
It. Spelling Books
(C) CHANDAS OR METRE
(D) ALANKARA OR RHETORIC...
I. Rasas or Poetic Sentiments
Tl.
Letter-writers
5. Addenda -
G. Index of Works .. eve
lL. Works with titles .
Il. Works without titles _
Page
L4-t
160
185
197
219
i = 4 ~~ — ae SS eS” ee S| Lr; a ee ee ee eeeeees”l eS SeeeeeeelhmUh ll ee a OO ai ll -™ eee eee Sell ee om EE — ee
Pn ee et | ee ee ee ee eee ee eee eee
SYNOPSIS OF
1. Introduction
2. Preface
I. GRAMMAR
Personal History of Panini ..
Literary History of Panini
Piinini’s works
Kiatyayana’s Varttikapaths
Patatjali’s Mahabhisya :
Personal History of Patan-
Tall « ;
His date
The state of language from
B.C. 600 to A.D. 600
The Asoka inscriptions
*-* *.
*
The learning and power of
observation of Patanjali
The study of the Maha-
bhasya
Accessories to the study
of Panini
Dhatu-patha
Linganu-sasana
Paniniya Siksa
Unadi-stitras
Phit stitras
Paribhaésaé stitras
Bhattr-hari’s Valkyapadiya
Aindra-Grammar-Kaétantra
Katantra-parisista and its
Commentaries ..
Accessories of Katantra
(1) Karaka...
(2) Roots
Conjugation
Rajadi-Vrtti
Rucadi
ASG y ea
Unadi
Kasmira recension
CONTENTS OF
Page
io
Vil
Vii
xvi
XVI
XVii
xis
A
XXIV
Sx
XXx1
XXXL
XXX11
XXXil
XXXill
XXX
XXXIV
XXXVI
xl
xiii
xhil
xliv
xliv
xliv
xlv
xiv
xiv
PREFACE.
Conclusion i xlvil
The C&ndra school of Gram-
mar 33 «» Mevi
Jinendra school .. es hi
Mono-syllabie nomenclature lid
Saékat&iyana school st liv
Accessories of Saikaté&yana’s
Grammar bg , lv
Hema-candra school of
Grammar 2% — lvi
Accessories to Hema-can-
dra’s Grammar is lviti
Sub-Commentaries on Hema-
candra’s Grammar sue lix
Manuals K oe lx
¢. “1€ the A
Jommentaries on the Acces-
sories . ue lx
The Samksipta-Sara School Ix
The Vrtti and its revision .. Ixii
Age of Jumara’s revised Com-
mentary ve se xiii
The age of Goyi-candra a Ixiv
The age of the principal
commentators of the Sam-
ksipta-Sara School sie Ixvi
The Commentaries on Goyi-
candra we wel Leet
Ganas or words taking the
same grammatical termi-
nation one a Ixxii
Vararuca School .. ve. Lele
Cangu-School sn — ASV
The Sarasvata School . sxvu
Tradition about its origin .. Ixsxvn
Its diffusion ce i. qylexvin
Commentaries and Sub-Com-
mentaries ..- ie ARKVII
Sub-Commentary by Pudja-
rajo.. He .. Ixxviii
Sannyasi Sub-Commentaries Ixxix
|
}
1v—4.
The Sarasvata-candrika
Accessories ,
Mugdha-bodha School of
Grammar :
Supplernents to the Mugdha-
bodha ‘
Accessories of the Mugdha-
bodha 4%
The Unadi of Mugdha-bodha
Supadma Grarmmar
Genealogy (of the author)
Commentaries on Supadma
Grammar
Accessories of
Grammar
Supadma
Prayoga-ratna-malai School
The extent of its study
Commentaries
Recasts of Panini
Date of Prakriya Kaumnudi ..
His (Author's) Gurus
Sidhanta-Ksumudi with Com-
mentaries
Abridgernents of Siddhanta-
Kaumudi
Minor Schools of Grammar ..
Bhava-simha-prakriya
Asubodha is ,
Suddhasu-bodha Vyakarana
Sighra-bodha
Jnanamrta,
Pada-candrika LL: Catal.
903)
Prakriyairnava
Parijata-vyakarana
Ratnavati aie
Dipa-vyakarana we
Il. LEXICOGRAPHY
Three groups
Three periods
Pre-Amara period. Nighantu
Yaska’s Nirukta .
Commentary of Nighantu by |
Devaraja Yojva *
Durgacarya’s Commentary
on Nirukta,
ef
SYNOPSIS OF
Page
Ixxix
Ixxx
Ixxx
. Ixnxxvi
Ixxxvii
Ixxxvii
Ixxxvill
Ixxxvili
Ixxxix
xe
xClil
XCiV
XCiV
XCV
xevil
CVi
C1x
exi
CX1V
CXV
CXV
CXV
CxXVv
CXV
CXVi
CXVil
CXVii
CXVvil
Cxix
CXix
Cxix
CXIx
eCxix
CXX
CXX
|
sess
CONTENTS OF PREFACE.
The age of Nirukta
Predecessors of Arnara. 1)
Vara-ruci
Linga-virttika by Jaya.
simmha (Catal, No. 4630)
Nara Lingam
Vyddi and others
Katya
Bhfguri and ‘Tri-kiinda
Ratna-Kosa
Amara-mifla
Viaicaspati's Kosa..
Dhanvantari
Amara-kosa. Its modifica-
tions
Criticism of Arnara
Commentaries
Kosas after Amara
Saisvata
Halayudha
Yidava-prakasa
Visva-prakfifa
Anekiartha-kosa or Mankha-
kosa zis
Anekartha-dhvani-mafijari
by Maha-ksapanaka of
Kasmira ;
Nanarthirnava-Samksepa by
Kesava Sviimi ..,
Hema-candra
Medini-kosa
Kosas after Medini
Kryaé nighantu
Sarasvatabhidhana
Nanartha-ratna
Kriya Kosa ;
A dictionary of words with
two or more forms, that is,
spellings ,
Sabda-bheda-prakasa
Visesamrta
Sarsvati-vilasa
Vaibhasika-kosa b
Kavi a
Dvi-ripa-dhvani-samegraha
Krsna-
Page
cxx
Cx
CxXI
CXXH
Cxxil
exxiil
CXL
CxXXil
cxNill
CxXXIV
eOxxIV
CXXIV
OXXVI
CXXVI
CXXXU
CXXXH
CXXXI
CXXXi
. CXXXI11
. @XXXIV
. @XXXiV
CXXXV
..CXXXVIii
CXXXVIli
exlii
exlix
exlix
exlix
cl
cl
cl
cl
eli
eli
cli
SYNOPSIS OF CONTENTS OF PREFACE. lv—b5
Page Page
»polling book, varnadesanaé .. chi The story of Nahusa—the
Varna-prakiaga ia ss elit origin of the Natas — Oexrx
Ifl. CHANDAH-SAsTRA ais | GLAEGRAEOT of Chandah in
Prosody ali Pingale and Bharata = elxxx
Vedic Chandah is neither Characteristics of the sdtra
metre nor prosody " aie | hterature A +. Cs
Vedic and laukika chandahs cliv Ee —
Chandah as a VedSiiga 7 she | sitra form ree 0 the ;
Age of Pitigala 7 “a body of the Natya-Sastra .. eclxxxu
Pingala’s system 7 alvi Five stages of development
Vedie pro: ; v iw from the sutra to the
The malian ages rae Sastra form ps .+ ¢elssan
Laukika seotion of Ptigala's Enxaneraticn ot Tesas . clxxxiv
Prosody - elviii Literary criticism in Bha-
rata .. she »» CIXXXIV
IV. ALANKARA - .. Clxvili | Dosas .. a .. clxxxv
Rhetoric a .. clxviii | Gunas .. “6 .« Ohexxv
Six kinds of poetic literature .. clxviii The drama ‘x 5. Glieskv
(1) Anibaddha or muktaka .. elxviii — Synthetic criticism of a
(2) Business prose, royal | drama ‘3 .. elxxxvi
writs, ete. sit .. e¢lxix | KAvyvAbDARSA OF DANDIN elxxxvil
(3) Language of controversy... clxix | The name—** Kavya-darsa”’ clxxxvii
(4) Poetry in Prose, katha | Definition we elxxxvii
and akhyiyika. . .. ¢Clxix | Classification of poetry ac-
(5) Drama is -« the | cording to form.. ~ elxxxviii
(6) Mahai-Kavya .. , | Ole | Classification of poetry ac-
l'irst Source and the Nirukta clxxi cording to language eIxxxvill
Second Source and the Artha- New explanation of the
Sastra Y ~, sabe ‘mixed’ language elxxxvill
Third Source and the Tarka- BRiti: «x a <« SACLE
Sastra vs .. ClxXxil Chapter If of Dandin . olxxxix
Vour th Source... ». ¢elxxill Historical and Geographical
Fifth Source and the Natya statements in Dandin 2% Cxc
Sastra -: .. clxxiv Kiivya-tattva-vivecaka-kau-
The Vedic sacrifice and the mudi (1.0. 1128) .. exci
drama .: .. elxxiv Kavyadarsa-vyakhya (Mad.
Sixth Source ss .. Clxxvi 12834). . a 2. exeli
Buarata’s NATYA-SASTRA .» Olxxvii Hrdayangama (Mad. 12833).. —exeil
Drama was subsequent to ISAVYALANKARA OF BHAMAHA .. CXCill
the Vedas at .. elxxvil Bhamaha’s Kavyalankara .. cxcill
Natya-sitras 55 .. elxxvii Bhamahe’s classification .. exciv
Bharata’s Natya-Sastra . .clxxviii Bhamaha, an improvement
Distinction between Sitra on Dandin 2's 2. ©XClV
and Sastra wm . .celxxviii The aim of Dandin 2+ cxcV
Bharata’s antiquity - ag Clexix Bhamaha and Kali-diasa ws oxevi
1v—6 SYNOPSIS
Dandin, Bhamaha, and Kalt-
dasa. . i ed
Bhamaha’s religion sa
Dandin and Bhamahea a
Homes of Dandin and
Bhamaha - i
KAVYALANKARA-SUTRA-VRTIIL OF
VAMANA .. - oe
Vamana’s work ..
Vamana’s age din +.
Vamana onriti ,. oe
Vamana’s home ..
UDBHATA .. a ae
Age of Udbhata .. are
Pratiharendu-raja’s Corn-
mentary a a
KAVYALANKARA OF RupDRATA ..
Rudrata’s definition of Kavya
His classification of Kavya
Rudrata’s Sabdalankdaras
His arthalankaras ie
Rasas dealt with in Rudrata
Maha-Kavya, Katha,
Akhyayika % is
Time and place of Rudrata
Commentator’s of Rudrata
and
RUDRA-BHATTA’S SrNGara-
TIGAEKA. «% oie o8
Rudrata and Rudrabhatta ..
Agni-purana ae dia
Sources of Kavya
Classification of Kavya
Drama in Agni-purana
Rasas in Agni-purana
Riti in Agni-purina
Sabdalankara _. ss
- Ubhayalankaras .. re
IKAVYA-MIMAMSA By WRiaga-
SEKHARA ie "
Age of Raja-Sekhara ap
His lineage Ns o
Other works of Raja-Sekhara
Kavya mimamsa ..
Tradition of
mimamsa
Kavya-
or
CONTENTS OF PREFACE.
Page Page
Division of Kavya-rmimarnsa cCOXXU
CXCVI Chapter I CONN
exevill a If + cOoxxiv
CXCIX 2 IV] ws COXXIV
t [Vv CCNRV
CCli - ¥ COXXV
‘? Vi COXXVI
cclll ie VII COXXVI
eeill ‘ss Vili . COXXVU
eciil ‘i IX /. COXXVIi
eciv 3 x CONN Vili
ccvi ” XI COXXIX
cevi Chapters XI and NII CONNIX
eevii - XIV ,», XV COXXX
Chapter NVI COXXX
cevil ” XVII COXXX
cevill ” XVITI »» COXXXI
ecix | Tue DHVANI-KARA .. COXxxi
Ccix The Dhvanit School has a
ecix tradition i +. COXXXi
eexi The Dhvani-kaéra. . COXXxiv
ccxl Ananda-vardhana, the vrtti-
kara is different from the
cexli Karikaé-kara .. -. COXXXV
cexil | ANANDA-VARDHANA COxXxxvii
CCXili Time and place of Ananda-
vardhana “ COXXXVil
Cexill His ancestry a CCXXXViii
cexiv ABHIDHA-VRITI-MATREKA BY
CcCxXiv MUKULA “ie CCXXXIiX
CCXV The book fe CCXXXIX
cCxvl The author ancl his age Coxe
ecxvl Abhidha-vrtti-matrka—y, pe-
ccexvil action against the Dhvanj
ecxvil school ee Goxx xix
CCXVill Mammata refutes Mukula eex]
cexvVi1llL ABHINAVA-GUPTLTA wn bd eexl
Time and place of Abhinava.
ara gupta > +s coxl
Cccxx .
Biehe Importance of Abhinava-
; ta in finally establish.
ecxxi SUP.
© . the Dhvani school,
cexxii INE
His Commentary on
nee Bharata’s Natya-sastra cexli
—
Se — es a a
ns tes
———
i - Se ee
_——
SYNOPSIS OF
VAKROKTI-JIVITA BY KUNTALA
Kuntala’s work is a revolt
against the Dhvant school ..
Age of Kuntala
Dir. 8. KE.
Vakrokti-jivita. .
of
De'’s edition
Vakrokti ;
Division of Vakrokti
Kuntala’s idea of riti
all
the alankéras .. a
Vakroktt is essential in
Vakrokti-jivita is the iso-
lated attempt of a great
thinker s
Contents ot a
DASA-RUPA BY DHANANJAYA oes
Age of Dhananjaya
Dasa-ripa—based on Bha-
rata.. : “ei
The translation of technical
terms are taken from
Haas’s DaSa-rapa
Dhananjaya gives ll forms
of Nataka as against 27 of
the Agni-puraéna and 28 of
Sahitya-darpana °
BHosA-RAJA’S SARASVATI-KAN-
THABHARANA AND SRNGARA
PRAKASA,. e° oe
Bhoja—King of Dhira ae
Sarasvati-kanthibharana ..
Sabdalankaras in Sarasvati°..
Contents of Chapter V ote
Riti dealt with in Sarasvati®. .
His Srngara-prakasa
AUCILTYA-VICARA-CAROA
KSEMENDRA |...
Origin of the idea of Au-
BY
citya cs —
Age of Ksemendra te
Name of some unknown
poets quoted by Ksemen-
dra in his Aucitya® -
Kavi-kanthabharana, a book
on the training of poets ..
CONTENTS
Page
eexlit
eexhit
eexliti
cexhit
eexhil
ecexlv
cexlv
eexlvi
cexlvi
eexlvi
eexlivil
eexlvii
eexlvii
.. eexlvill
cexlix
ecl
eel
cel
ecli
eclil
eclil
ecliii
eclv
ecelv
celv
eclvi
celvi
|
OF PREFACE.
Contents i
Unknown poets in the Kavi-
kanthabharana. .
VYAKTI-VIVEKA BY MAHIMA-
BHATTA:..
Vyakti-viveka—a contradic-
tion against the dhvani
theory
Date and place of Mahina-
bhatta
MAMMATA’S IKAVYA-PRAKASA a
Date of Mammata
Story of tho joint author-
ship er a
His definition of Kavya
The three functions of words
clearly stated ..
Ullasa LIL <o
Ullasa IV ai
Ixplanation of the suggested
meaning $3
Kavya—Pr. N.S. P. 101
Ullasa V ot
Ullasa VI se
Ullasa Vil—treats
various defects ..
Ullasa VIII - .
Ullasa [X—treats of the
Sabdalankaras .. ‘
Ullasa XN—treats the
Arth&élankaras .. .
of the
ot
about
WNavya-prakaSa, .
Misconceptions
COMMENTARIES ON KAVYA-
PRAKASA, .
Sri-dhara’s Commentary
named IJ<avya-prakasa-
y= 7
Page
eclvil
eelviil
the
viveka és 3
Candi-daésa and his lineage
(Catal. No. 4838.)
Raghu-deva’s Artha-praka-
Sika. . Ae
Jayanta Bhatta and
Commentary ..
his
echlix
eclix
eclix
eelx
telx
ecelx
eelxi
eelxi
eelxi
eelxi
eelxii
eelxili
eeclxili
eclxil
ceclxiv
eelxiv
eelxv
ecelxv
eclxv
~
eelxvi
eclxvi
eclxvii
eelxvil
lv—8
Kavya-prakaaa-nidargana by
Rijénaka Ananda
Kavya-prakéja-vistarika by
Page
. celxvill
Kivya-pradipa by Govinda .. celxviii
Paramananda .. —
Kavya-prakaga-prakiéa by
Kamala kara. .
Kavya-prakaga-tika by
Gada-dhara
Lattva-pariksa by Maheé-
vara Subudhi
(Catal. No. 4839)
MaheSvara Nydyflankara
Miéfra
‘Sri-krsna
Vaidya-natha
tamna-krsna
Sri-vatsa-lafichana .
An anonymous Kaamiri Com-
mentary
Kavyamrta-taurat gin
Bala-cittanurasdjini (Li):
1139) -
Kavya-prakaéga tilaka (1,
1142) " ;
Kavya-prakaga vyakhya
(Mad. 12821) ,
Kavya-prakaSa-lila (Mad.
12824) ;
Madhu-mati and Kiavya-
darpana (I.0. 1144)
Sampradaya-pradaraini
(Mad. 12826) ,
Sahitya-ctidai-mani or Kavya
prakaSa-vimarsini (Mad.
12828)
celxix
cclxix
celxx
ccelxx
celxxi
celxxi
eclxxli
celxxli
eelxxii
celx xii
eelxxil
. celxxili
. eclxxill
. eclxxiv
. cclxxiv
. eelxxiv
ALANKARA-SARVASVA BY RUCAKA
af
Rueaka and his disciple
Mankhuka or Mankha
Samudra-vandha—a
mentator
Com-
Jayaratha, a second com-
mentator
Rucaka’s date ..
Rucaka and Kuntalsg
Rucaka and Mahima-
bhatta
eclxxv
ccelxxv
eclxxv
cclxxv
celxxv
eclxxv
eclxxvi
eelxxvi
SYNOPSIS OF CONTENTS OF
PREFACE.
Page
JAYA-RATHA ** ccelxxvil
HEMA-CANDRA
VAGBHATALANKARA
Vaceuata If
NATYA-DARPANA BY
CANDRA AND GUNA-CANDRA
Alankarodfiharanam colx xvii
celxxvil
Hemacandra’s age vebexvii
celxxvill
Vaigbhati'’s age colxxviii
Vagbhatalankira eclxexix
. cclIXxx
Kavydanusasana or Alan.
kara-tilaka (1.0. 1157) 5, eclxxx
RAMA-
. celxxx
Natya-darpana oe
The authors, Rima-candra
and Guna-candra -. eelxxx
The characteristic of tho
work — ..celxxNi
Arrangement colxxxil
Special feature celxxXil
BHAVA-PRAKASANA BY Sinapi.
TANAYA .. ee ecIxxxil
Bhava-prakasani celxxxii
The author and his Pedigree celxxxiii
His training -. eclIxxxili
The three works compared .
Geography of India in the
~.ceIXxxv
Bhava-prakiéisa celxxxv
His date o. celxxxvi
The works and authors
quoted in the Bhiava-
prakasana ina eclxxxvii
JAYA-DEVA’S CANDRALOKA eelxxxviii
Jaya-deva’s parentage eelxxxviii
Date of Jaya-deva celxxxviil
Characteristics of Candra-
loka. . .s eclx xxix
Pradyotana’s Saradigama eelxxxix
Appaya’s Kuvalayananda — eolxxxix
Date of Saradagama eclx xxix
DKAVALI OF VIDYA-DHARA
Rakagama by Gaga-bhatta colxxxix
Vaidya-natha’s Commen-
tary .. a a eexe
-. cexe
Condition of Sanskrit ey].
ture after the Muham.-
madan conquest -. eexe
re — ls oe tele
SYNOPSIS OF CONTENTS OF PREFACE,
Page
Mkavali—written in the wake
‘ of Kavvyaprakasa «« excl
Vidya-dhara’s Keli-rahasva .. cexei
Malli-natha’s Commentary .. cexcii
Date of Vidya-dhara eexei
Explanation of the word
Hambira 8 .. CCXCIV
Nara-simha—his patron .. CCxciv
Isvidence of the Rasfarnava-
sudhikara #% ss eexey
RASARNAVA-SUDHAKARA BY
SiNGA BuUrPALA .. es cexev
Contents of Chapter I = cCxcY
Classification and subdivi-
sion of the exciting causes
(udditpana vibhiivas) we OOXCVI
Origin of the dramatic
vrttis “is e+ CCOxcvi
The pra-vrttis .. o« COXOVI
The sattvika bhavas
Contents of Chapter 1I1—The
Transitory motions a
The Permanent Emotions ..
The 3rd Chapter deals ex-
the
Natakas and their modi-
clusively with
fications ee
Peculiar feature of Singa
Bhupala’s criticism ie
Characteristic of the work
The Recalla family
Singa’s ancestors
and
. eexevil
eexevil
COXCVII
. eexevit
eCCXeCVili
. .cexeviil
. -CCXeVIi1
Date of Singa Bhipala .. Ccxcix
Nataka-paribhasa (LO.
Catal 1201) .., <i ece
PRATAPA-RUDRIYA By VIDYA-
NATHA .. = #% cée
Pratapa-rudriya also written
in the wake of Kavya-
prakasa on wie cece
His age ‘% 5 ecci
Chronology of authors in the
book ja ee eecli
Pratapa-rudra commented
upon by Kumarasvamin .. cccii
SAHITYA-DARPANA BY VISVA-
WATHA: «4. aie
Definition of Kavya in the
Sihitya-darpana -
Chapter I + ey
as Il i =
re T1l—taken up
with rasa 5 i ‘2
Chapter IV—classification
of Poetry pe 4
Chapter V “ ..
is VI—Drsya = and
Srivya 4% sa
Different classes of poetry.
Chapter VII—treats of
defects wie ;
Chapter VITI .. ;
5 IX _ ,
His father ‘6
His ancestor, Narayana
Date of ViSva-natha
Tnternal evidences
Candi-dasa i
Dharma-datta ‘i ;
Rama-carana Tarkavitgtsa,
—commentator of ViSva-
natha - F
RASARNAVA BY PRAKASA-VARSA .
DEVENDRA OR DEVESVARA ee
Kavi-Kalpa-lata .. a
Amara-candra and Arisimha..
Date of Devesvara sing
Date .. a Ss
APPAYA DIKSITA ie ua
Citra-mimamsa .. wi
Laksya-laksana-samgraha
Vrtti-vartikam .. .
Citra-mimamsa-khandana ..
Kuvalayananda-khandana .
Commentators on Appaya’s
works Pn :
Appaya’s date... ‘
ALANKARAS BY THE CATTANYA
SECT 5 «it .- ;
*
eee
eeeiv
ceciv
eeevil
eceviil
eeevii
eeevili
eecix
eeex
eeex
eeex
cceexi
ceexi
ecenii
CCcexti
ecenxili
ecexiv
ecexiv
ccecexv
CCCcxy
CcCCXxV
iv—l10 SYNOPSIS OF
Page
Riipa Gosvaimin and Jiva
Gosvamin Be 2 OCCCXV
Kavi-karna-pira and his
works ae -- CCCxVv
Nitaka-candrikaé .. . + COCKVI
Alankara-kaustibha (1.0.
1196) ea oe CCCXVI
Alankara-kaustibha (Mad.
12790) ++ CCCXVII
Alankfra-kaustibha (Mad,
12785) .. CCORNVIi
Alankara-sekhara., . .. CCOXVI
RASA-GANGADHARA BY JAGAN-
NATHA .- a .. CCOCXIX
Jagan-natha’s Pedigree CCOXIX
Rasa-gangadhara COCO
Jagan-natha’s definition of
Kavya = CCCXXI
NANJA-RAJA-YASO-BHUSANA BY
N&R-SIMHA . CCCXXii
Nafija-raja-yaso-bhiisana
Ne-simha, the author. Writ-
ten in the wake of Pra-
tapa-rudra-yaso-bhiisana
Nafija’s works
Pratapa-rudra” and Nafija-
.. CCCKXI1
.. CCCXXI
X
raja° vite » . CCCXXili
The story of the model
drama a2
. -CCCXXili
OTHER WORKS ON ALANKARA
NOTICED TIN OUR CATALOGUE
Sahrdaya-lila ae
Alankara-ratnakara
Candra-karika .,
Varna-ratniakara ..
Kama-samtha ,,
Kavya-vilasa
. .<CCCXXIV
» -CCCXXILV
»+ CCCXXV
». CCCXXV
..CCCXXVI
» -CCCXXVI
»° eeexxvil
Alankara-mafiij ari Ghoeeen
Short works ay Fy 7
Kavi-sarant-dipika CCCXXViil
Sahitya-ratnakara iGcoxseiis
OTHER WORKS ON ADLANKARA
NOTICED IN OTHER Gara.
troaurs oF MSS. ..., eeexxvili
CONTENTS OF
_
ee
rr
PREFACE,
Page
Sahitya-kautihala
1175)
Kavya-candriké (1.0. 1193) . .ecexxix
(1.0.
ecexxvill
Another Kfivya-candrikii
(1.0. 1194)
Alankfra-candrodaya (1.0,
LIOS) . .CCOXXIX
Natya-darpana ([,0, 1199) .. ecexxx
. .COCNNIN
Alankfra-samgraha (Mad.
12794) o. .. COCNNN
Alankfira- samgraha (Mad.
12795) “+ .. CCOXNNN
Alar kfira-safjivani (Mad,
12799) es CCCXXX
Alankira-sarvasva (Mad.
12798) «2 CCCOXXX
Kavi-samaya-kallola (Mad.
12808), and Krsna-riija-
yvaso-dindima ., ..CCCXXNI
Kiivya-darpanna (Mad.
12809) + ..CCCXXNI
Kavya-laksana (Mad.
12829) “4 ccexxXil
DaSa-ripaka-vivarana (Mad.
12892) oe CCCXXXI
Rama-candra-yaso-bh Usana
(Mad. 12950) ecex xxiii
Laksana-dipiké (Mad.
12951) se CCCXXNXIil
Laksana-malika (Mad,
12953) oe CCCXXXIiil
Sahitya-kallolini (Mad,
12994) oe ecexxxiii
Sahitya-cinta-mani (Mad,
12965) re CCCXXXiV
Alankara-nikaga (Mad.
12976) o. CCCXXxXiV
WorxKS ON RASA a CCCXXXiV
Kalyana-kallola .. CCCXXNXIV
Letter-writers .. eeexxxv
The study of Alankara eeexxxv
Conclusion ait ceexxxvi
INTRODUCTION.
‘ In this volume are described MSS. from 4213 to 4944
with afew additional numbers, divided into four sections :—
(1) Grammar, 4213 to 4628A.
(2) Koga or lexicon from 4629 to 4732A.
(3) Chandah or metre from 4733 to 4786.
(4) Alamkara or rhetoric from 4787 to 4944.
An attempt has been made in the preface to give a
history of these four subjects, specially of grammar.
‘
ee ee ee ee _ a
|
.
|
|
4
PREFACE.
It is difficult to say definitely whether in the Samhitas
of the Vedas, there was much speculation about the for-
mation of words and the analysis of sentences. Passages
which are considered to talk of grammatical speculations
may be otherwise explained, or, if they speak of grammar
in any sense, it is of the most primitive kind.
In the Brahmanas, however, along with speculations
of all sorts, there were undoubtedly speculations on gram-
mar, very primitive, though conscious, efforts. I will give
one example from Chandogya Upanisad, which is a part of
Chandogya Brahmana. There the word ‘Udgitha’ has
been derived as Ud, oi and tha; Sama from Sa and ama.
The derivation is not from. roots, but from the syllables
constituting the word. Another example I will give trom
the Sambhitopanisad of the Aitareya-Aranyaka. It em-
bodies the speculation of two or three families of Rsis
about samhita or union, but the words and forms em-
ployed were all later utilised in grammar. It opens with
“aaa: afearat Sufaaq ufsat waeu, gt waxed, ary: afear,
aa WAT 2.6.5.8. ATR WRG Ha SaTKG gta: feat | The
words ptrva-ripam and uttara-ripam or para-ripam
are still used in the Sanskrit schools at Benares in ex-
plaining samhita or sandhi. Panini often says para-ripa-
eka-desah or plrva-rtipa-eka-deSah that is, the pirva-riipa
and the para-ripa combined sometimes leave the purva-
rapa alone or the para-riipa alone.
Proceeding a little further, the Samhitopanisad says
ag GeaStiyaaal | Wat ysenquaqdeTd TIAL: Wrweut-
WLEY Bata at adfeafa | The last letter of the first word
a is * a i
i
Vill PREFACE.
is called purva-rapa and the first letter of the second word
is called uttara-ripa and the space between these two is
samhita. This is purely grammatical sandhi. The word
nirbhuja-vaktra means those whose mouths utter samhita
or sandhi. This is very simple but the dwarfish Mandukeya
(a rsi) says, that is all right. The last letter of the first
word is purva-rupa and the first letter of the second word
is uttara-ripa and the space between these two by which
sandhi is produced, pitches are determined and the time
is divided, is samhita. The former opinion gives the
name of samhita to the space only but the latter says.
no, the space is not sandhi, it is the change of pitch and
the change of time that is sandhi. This is an advance
on the theory of the nirbhuja-vaktra. In the same
brahmana or paragraph another advance is proposed by a
third rsi who says that the equation of the pitches (ata ) is
sandhi.
Vhus after defining sandhi the worl proceed to sive
the secret of speech. Consonants are prthivi. the sibilants
are atmosphere and vowels are heaven. The consonants
are fire, sibilants are air and vowels are the sun. Congo-
nants are Kg-veda the sibilants are Yajur-veda and the
vowels are Sama-veda. The consonants are the eyes, sibi-
lants the ears and the vowels the mind. The consonants
are prana, sibilants are apana and vowels are vyina. This
human body is a divine lyre just as there is a lyre among
men. Just as a human lyre, it has a head, it has a
belly, it has a tongue and the strings are its fingers. Both
the lyres have their consonants, their sibilants and their
vowels and both are covered with a skin full of wool.
All this shows that the alphabet was in the making
when this work was composed. It treats in the last
es
PREFACE. LX
paragraph of its second part, of cerebral s and cerebral n.
Thus the Sambitopanisad covers the whole field of the
letters of the alphabet, the change of dental s and n into
cerebral s and n and of the changes which letters undergo
when they come together, 7.e., it covers the whole field
of the Vedanga Siks&, which has ceased to be a separate
subject of study since the advent of Panini who has in-
cluded it in his grammar. So it may be taken for granted
that the Samhitopanisad represents an early speculation in
erammatr.
I have hitherto, spoken only of the Sambhitopanisad
of the Aitareya School. The Kausitaki Brahmana has
a Samhitopanisad. but it is much shorter. But the Sam-
hitopanisad of the Taittiriya Aranyaka is more syste-
matic. It speaks of Siksa first as consisting of letters,
vowels, time in pronunciation, the effort, the equili-
brium of pitches and samhité and then goes on with
the Samhitopanisad, drawing similes from the pheno-
mena of nature, from the human body, and so on. There
is a Samhitopanisad of the Sama-veda (see our Catal.
1312). The Catalogue of the Adyar Library says that
there is a Sambhitopanisad for every veda. It deals with
sandhi.
So far for the Siksa section of grammar, for other sec -
tions there were numbers of vedic indices from which the
grammarians derived their materials. It is a well known
fact that at the close of the vedic period, Indian scholars
became veteran writers of indices or Anukramanis. They
had Ksi.-Arukramanis, Chandonukramanis and Devata-
nukramanis; Saktanukramanis, Anuvakanukramanis and
other Anukramanis. But there are other Anukramanis too.
‘These are (1) indices of words occurring in the whole
x PREFACE.
of the Rg-veda ending in visarga called samanas, (2 )
ending in n, (3) expanding in ay, av, ay, av, or ina and
a, and (4) and simple non-compound words ( sec our
Catal. 287).
The Pada-patha and Krama-patha afforded opportuni-
ties to observe variations in pitch, in pronunciation and
in sandhi. These have been fully utilised in works like the
Upa-lekha stitra. The pada-gidha is a long register of
vedic irregularities or peculiarities.
Our Catalogue Nos. 487 and 488 contain indices of
words which drop the visarga after a in the Black Yayur-
veda, indices of vilanghyas 7.e., of cases in which e and ai
ave modified in sandhi. ‘There are lists of words ending
in n and t. There are works like Avarna and Avarni.
There are also works in which the stress sounds in the
LTaittiriya Samhita are registered.
Gani, our number 256, registers words ending in
visarga, words ending in vowels, words which are not
joined in sandhi, words which do not change their nakara
and words which change ye into ya. It is divided into 65
Sections recording lists of sixty five such changes in the
Sakala Samhita of the Rg-veda.
.
‘How useful these lists were to the subsequent
writers of Prati-sakhyas and grammars may be seen from
the fact that one of the lists in the Gani has been turned c
’ into a stitra in page 53 of the Saunaka’s Rk-prati-sakhya
in the Chaukhamba series.”’
From the above it will be apparent how the
brahmins in ancient times were anxious to preserve the
PREFACE. xi
purity of the text of the Vedas by drawing up lists of
instances of the peculiarities of Vaidika expressions. A
glance at the sections of our Catal. Vol. IL on the subsi-
diary treatises of the various Vedas will give more ex-
amples of such lists. It would show how inveterate the
habit of ancient rsis and Munis was to prepare anu-
kramanis of various sorts. That these anukramanis were
useful, goes without saying. Panini and his predecessors
fully utilized them. The Dhatu-pathas and specially the
Gana-pathas owe their origin to these Anukramanis.
Even the sitras are indebted to them. The Gana-patha
4nd the Dhatu-patha as we find them in Panini, are not
the work of one man and even of. one generation. The
pathas were being accumulated for generations, and Panini
may have given a finish to them. But still he left many
of them open to fresh additions calling them Akrti-ganas.
Panini had ten predecessors whose opinions he quotes
in his stitras. How much he was indebted to these for his
sutras, for his nomenclature, for his alphabetic arrange-
ment, for his algebraic technical terms we do not know.
But there are indications in his sitras, that he was much
indebted to his predecessors. or instance, in one place he
says, HIS xfa sIat aar, that is, his predecessors used to call
the third case-ending singular as ars and not zt as he does.
The grammarians thought that all words cannot be
derived from roots, so they gave rules for the formation
of ordinary verbal nouns only, from them. But pbhilo-
logists or Nirukta-karas thought otherwise. They attempt-
ed to derive all sorts of nouns from roots. There is only
one grammarian who was a philologist, too; he was Saka-
tayana, the son of rsi, Sakata. He is said to have written
the Unadi-sitras (in five chapters and 748 sutras) which
leads — _ : » — ols : : a —
a ee a ee ee ee ee a
xii PREFACE.
Panini did not care to embody in his grammar but left
them out by saying, =mizat aga, that is, there is a good
dea] of liberty in the formation ot such words.
The first work described in this volume is Nandi-
keSvara-kasika, with a commentary. ‘The names of the
work and its commentary require an explanation. The
Indian alphabet is differently arranged in different schools
of grammar, according to the exigencies of its rules. The
oldest school of grammar called the Aindra School, of
which the modern representative is supposed to be Katan-
tra or Kalapa takes the alphabet as it 1s. Panini arranges
it into fourteen sitras.. One of Panini’s predecessors
Sakatayana seems to have arranged it in thirteen sttras, as
its present representative does the same. The Candra
School also has thirteen siitras; later on the illusory letters
of the sitras were dropped one by one, till in the Mugdha-
bodha we have only three illusory letters in the arrange-
ment of alphabet.
These alphabetic sttras are called Niva-sittras es.
pecially in the school of Panini, for tradition has it, that
he was a favourite of Siva and that he got these fourteen
stitras directly from him. But the god, Siva, is without
action and without attributes. His active principle is
Nandi, the son of a rgi, named Silada. Nandi by his
austerities rose to be the commander of Siva’s followers
or Ganas and a rival of his son, Ganesa. Nandi is often
called Nandikedvara.
In the present work NandikeSvara is made to write
twenty-six verses, giving the highest spiritual interpretation
Me Re RR ee a elt
1 Each sitras has an indicatory consonant which forms no part in the
arrangement of the letters of the alphabet. These indicatory letters are renerally
called ‘ It’s or illusive,’
|
]
PREFACE. xi
to the fourteen Siva-sutras. This is Nandikesvara-kasika-
Its commentator again is another great favourite of Siva:
named, Upa-manyu, who by his austerities rose to such
favour of Siva, that Krsna had to curry favours with
him for obtaining a desired boon from Siva, The com
mentary is called NandikeSvara-kasika-tattva-vimarsiM,
Catal. 4213A.
The work, however, is a modern one. It deals with
such modern theories as the monism of Sankara and his
theory of illusion. It also speaks of Tantric values of
letters. It was certainly composed after the lexicon of
words of one syllable had become popular.
Numbers 4214-4215C contain reading of the sutras
of Panini. The age of Panini is a subject of great con-
troversy. Satya-vrata-sima-Srami in his Niruktalocana
says that Panini wrote before Yaska’s Nirukta and his
age is 2400 B.C. This is impossible, because the Nirukta’s
classification of words is four-fold, Nama, Akhyata, Upasarga
and Nipaita, while Panini’s is two-fold only, Suvanta and
Tifianta. This is an advanced theory and therefore later.
Yaska is a philologist while Panini is a- grammarian.
Goldstiicker thought that the stitras were written at least
a thousand years before Christ, when the Brahmanas
were, according to his theory, composed. Dr. Belvalker,
thinks, that he flourished 700 years before Christ. Biihler
thought that he wrote his stttras about 375 B.C. I need
not give other theories. Buhler’s theory was based on
Indian tradition embodied in the Katha-sarit-sigara, in
which Panini is said to have had a controversy on gramma-
tical points with Katyayana, at the court of Nanda, whose
dynasty ruled Magadha from 425 B.C. to 325 B.C. But
this tradition may be neglected as given in a story-book.
X1V PREFACE.
I have to refer to another Indian tradition discovered
in a work entitled Kavya-mimarisa recently published in
Gaekwad Sanskrit series. The author of this work, Raja-
Sekhara, flourished in the beginning of the 10th century, and
gives the tradition thus:
wad fe wefaas wiaacaetar
aawaa-aat xe urfafa-foget ee arts: |
ae avata-qagqat urifaar: aqfag aaa: |
This shows that Panini was tested at Patali-putra.
This city was founded in the year of Buddha’s Nirvana,
When Ajata-sSatru was reigning at Raja-grha in Magadha.
Ajata-Satru’s second successor Udayi transferred the
capital from Raja-grha to Patali-putra and it was only
in the capital of Magadha that these great men could be
tested. Some of the Puranas state the exact date of
the transfer, as the fourth year of Udayi, others are not
So exact. The Yuga-purana in the astronomical treatise
called the Garga-samhita, records only two dates as of
very great importance in the history of India:
one is
the accession of Pariksit on the throne of the Pandavas,
and the other the transfer of the capital of Magadha
from Raja-grha to Patali-putra in the reign of Udadhi,
a misreading for Udayi. So the upper limit of Panini’s
age must be the reign of Udayi, somewhere in the
earlier half of the 5th century B.C. or in the beginning of
the 6th century, if we accept the Singhalese chronology.
Some people are disposed not to attach the same
importance to the tradition recorded by Raja-sekhara
a8 I do. The reason why I attach so much importance
to it is that it is not given in a story book but by a
great scholar and by the tutor of emperors who ruled over
the greater part of civilised India. Raja-Sekhara gives
PREFACE. xXV
this tradition not as an isolated fact, but in connection
with Raja-sabha or assemblies held by great kings for
the reward in literature and science, and he describes
how such an assembly is to be held. In connection with
such Raja-sabhas, he speaks of the scholars that were
rewarded at Patali-putra and the poets that were rewarded
at Ujjavini. It is well known that great kings from remote
antiquity used to hold quinquennial assemblies for the
purpose of rewarding merit. One such assembly was held
by Harsa-vardhana at Prayaga when Hiun-tsang was
here. ASoka’s quinquennial assemblies are well known
to scholars. The idea was certainly not original with
Asoka. His predecessors the Sisu-nagas and the Nandas
used to hold such assemblies. So the quinquennial assem-
bly was an established institution m India, trom very
remote antiquity. If the holding of such assemblies is a
historical institution, why should not these men be tested
and rewarded at Patali-putra, say, in course of three or four
hundred years ?
Some people say, that the seven men mentioned by
Raja-sSekhara were not contemporaries, so how could they
be tested at one place? But, who says that they were
contemporaries ? Raja-Sekhara certainly does not say
so. He has given these seven names in strict chronologi-
cal order. Upavarsa, a great name in Indian literature
first, then Varsa, the teacher of Panini, then Panini him-
self, then Pingala,-the aged teacher of Vindu-sara’s sons :
then Vyadi who was at least three generations after Panini.
as he was a yuva or young member of Panini’s mother’s
family ; then Katyayana, who wrote a supplement on Pani-
ni’s stitras and quoted V yadi, and last of all, Patafijali who
officiated in the sacrifice of Pusya-mitra, the founder of the
Sunga dynasty. From 500 to 150 B.C. there would be 70
xvl1 PREFACE.
assemblies held at Patali-putra, there is nothing to prevent
these seven great men, appearing in seven of these assem-
blies and being tested and rewarded.
I'here is another great historical event in this connec-
tion. very student of history knows that Darius led an
expedition against Greece in 490 B.C. and that there was
an Indian contingent in his army. So, Western India
was conquered some years before 490 A.D. and Taxila.
the great seat of learning in India was at the gate of
India for Darius coming trom the West. During the whole
of the long life of Buddha, Taxila was the centre to which
people flocked for superior education, and any one, who
received his education at Taxila, was regarded throughout
India with respect and reverence. When that seat of
learning fell into foreign hands, it is no wonder that
aspirants of literary fame should seek some other place for
gaining their reputation. Under such circumstances Upa-
varsa, Varsa and Panini who all belonged to Taxila and
its neighbourhood flocked to the new capital in Eastern
India to be tested and rewarded. Others like Pingala,
Vyadi, Katyayana and Patafjali came to subsequent
assemblies to be treated in a similar manner either after
finishing their education or after writing some strikingly
original work.
The residence of the ancestors of Panini was Salatura,
near Attock. His statue was there foy
a long time as mentioned by Hiun-
tsang. His scholarship was tested at
Patali-putra, when the Capital of Magadha was transferred
there. He and his contemporary scholars were most likely
compelled to leave the neighbourhood of Taxila shortly
after the conquest of that territory by the Persians. His
mother belonged to the family of Daksa and Vyadi who
Personal history of
Panini.
PREFACE. XV
was a Daksayana was perhaps three or four generations
younger than Panini. The Panca-tantra says that Panini
was devoured by a lion and Katha-sarit-sigara says that
he had a controversy with Katyayana at the court of
Nanda. Both these traditions are to be accepted with
a grain of salt.
Panini quotes from ten of his predecessors in the
erammatical line. They were all
historical persons because their stitras
were found quoted in authoritative
works. Their names are Apisali, ASvalayana, KaSyapa.
Gargya, Galava, Cakra-varma Bharadvaja, Sakalya
Sakatayana and Sphotayana. Some were writers of Siksa,
others of Vyakarana. Sakataiyana wrote both Vyakarana
and Nirukta. All these made. I believe. full use of the
srammatical Anukramanis of the Vedas at their age. Of
these Sakat&ayana seems to have been a follower of the
Jaina religion. He is called Sakataéyana because his father’s
name was Sakata. He is called a Sruta-kevali-deStyacarya
and Patafijali says that he was so absorbed in his thoughts
that he did not notice a caravan passing by close to him.
Literary history of
Panini.
pe Fs The works that go by the name of
Panini’s works. a 2 .
Panini are—
: =
HSH WUUVISY wWayiswaya |
fagrquied frat atfadtat sat waATE |
The word Astaka here means the orammatical siitras
of Panini divided into eight chapters, each divided into
four padas or quarters. The number of stitras is 3983. I
may refer the reader to my work entitled Magadhan
Interature, page 26, for how this figure has been arrived at.
In writing all these works, five in number, Panini fully
utilized the anukramanis of ancient sages adding to and
modifying them according to his own need. As I have
XVili PREFACE,
said before the history of these indices would be of the
greatest value if they can be found and | am not hopeless
yet that much of this literature may vet be recovered.
The grammatical activity of the bralmanas did not
end with Panini. There were many lesser lights before him
and after him. The Sloka varttikas are not the worl of
one man. Many have contributed their quota to these
varttikas. We hear of Indra-datta, Vvyagra-bhiti and
others flourishing between the time of Panini and Patanh-
jali. But there were many big lishts, one of them was
Vyadi, a descendant of Panini’s maternal uncle in the fourth
generation, that is, in the third generation from Panini. Tn
our Catalogue there is a short work attributed to him. Tt
is Pari-bhasa-patha (Catal. No. 4337). But the great work
of Vyadi was his Samgraha in 1,00,000 Slokas and with
14,000 points. Bhartt-hari says that the Maha-Bhaiya wags
written after the Sangraha had “set.”” But fragments of
it seem to have lasted many centuries, as Jayaditya, and
Kaiyyata seem to quote from it. Patatijali was qa erent
admirer of the work. Katyayana attributes a few of his
Varttikas to Vyadi. Hven Padma-nabha in the fourteenth
century quotes Vyadi. In the koga section of this preface
will be found some works by Vyadi.
The whole of the Pari-bhasa literature seem to ema-
nate from Vyadi (Catal. No. 4337 to 4346). Vyadi seems
to have collected the nucleus of the Pari-bhasas and subse-
quent writers have added to them till their number was
fixed by the Vrtti of Sira-deva. The Paniniya pari-bhasa,
seems to apply to all schools of grammar. The last word
on the Pari-bhasas have been said by Nageia and his pupil
Vaidya-natha Paya-gunde.
The Varttika-patha of Katyayana, is represented in
PREFACE. xix
this catalogue by No. 2416. A comparison of this work
with the Varttika-patha as given by
, wich as Kasi-natha Parava shows that this is
| a shorter recension of that Varttika-
| patha, The printed text gives a much larger number of
| Varttikas than the MS. In the catalogue has been quoted
| the first section from both the printed text, and the MS. tor
| facility of comparison. The number of varttikas as given
| in the appendix of I<asi-natha’s edition of Siddhanta-kau-
| mudi is 5032, but he adds 34 more as spoken by Kaiyata
and others. ‘These varttikas criticise the stttras of Panini,
To each stitra a number of varttikas is appended. But all
| the sutras have not been criticised, the criticisms are econ-
| fined to only about 1.500 stitras.
KNatyayana’s Varttika-
Katyayana is said to have been an inhabitant of
Kausambi about 30 miles to the west of Allahabad, on the
southern bank of the Yamuna, now called Kosam. He
belonged to a powerful family, distinguished for writing
authoritative works on the Vedas. One Katyayana wrote
the Sarvanukramani of the Rg-veda, another wrote a
Ssrauta-sttra on the White Yajur-veda. Another a Grhya-
sutra with 18 appendices. But Goldstticker says that our
Katyayana, the varttika-kara, was the author of a Prati- ©
| sakhya of the White Yajur-veda.
ee eT — a ee ee
The relation between Panini and Katyayana is often
misunderstood. Some people think that Katyayana was a
captious and a hostile critic and others think that
he was more learned than Panini. But my idea is that,
| Panini belonged to Western India and Katyayana to
Kastern India. Panini belonged to the 5th or 6th century
B.C, and Katyayana was much later. So Panini’s stitras
were open to criticism by an Eastern scholar younger
:
|
a . ee
by two or three or more generations. The Vajasaneya-
xX PREFACE.
samhita and Brahmana were recent in Panini’s time,
and later they developed into sixteen different schools.
Panini is not likely to have taken cognizance of this’
extensive literature of the Vajasaneyins, which Katya-
yana certainly did. All these facts go to exonerate Katya-
yana of any feeling of hostility towards Panini and_ of
being a captious critic. But Katyayana did not write an
independent work as he found it more convenient to
append varttikas, v.e., his criticisms, to certain rules of
Panini. Katyayana was very respectful to Panini, some-
time calling him even “ Bhagavan.”
1 have spoken of the authors of Sloka-varttikas. Indra-
datta is one mentioned in the Katha-sarit-sagara. Saka-
vandi'is another name given in our Smrti volume (see
Catal. number 3028).
Sanskrit grammar is said to have been settled by three
Munis. There is a dictum *'Tri- muni
vyakaranam.’ The three munies are
Panini, Katyayana and Patafijali. Something has been said
above about Panini and Katyayana. Patafijali is said to
have written the “ Great Commentary ”’ or the Maha-bhasya.
But commentary on what? Certainly not on the rules of
Panini of which only fifteen hundred are criticised both by
Katyayana and Patafijali. It is not on Katyaiyana’s
Varttikas, because the first Varttika is Siddhé-sabdartha-
sambandhe while the first sitra dealt with in the Great
Commentary is Atha-Sabdanu-Sasanam. This may be the
first sttra of Vyadi's Samgraha. Patafijali is an admirer of
that work. In criticising one of the sutras of Panini
(Satra IT, iii, 66) and the Varttika IT on the same, he says,
WA BY eras Ta wey ws: |
and here Daksayana means Vyadi.
Patafijali’s Mahabhasya.
i gs ake Mtr sh*t * eee amen” 2 th
PREFACE, XX1
The first section of the Maha-bhasya deals with
subjects which are absolutely excluded by Panini and
Katyayana from grammar. The second section deals with
the Siva-sitras, which are not the Sttras of Panini. It is
from the third section that Panini’s stitras begin. What is
the source of the ‘Great Commentary’ for these two
sections. Most probably Vyadi, who wrote an extensive
work measured in hundred thousand slokas and which
Bharttr-hari says contains fourteen thousand points.
Patanjali’s mother’s name was Gonika. He is often
called Gonika-putra. He belonged
to Gonarda, which Varaha-mihira’s
Brhad-Samhita places along with Cedi
and Kukura in one instance, and along DaSapuraand Keral sh:
in another. He seems to have been familiar with Ujjayini
and Mahismati. He often says, setting out from Ujjayini
at sun-rise one could go to the other at sun-set. He was
also familiar with Patali-putra, where he came to officiate
1 one of the great sacrifices held by Pusya-mitra, perhaps a
horse-sacrifice, and settled in its vicinity. Reading through
the Maha-bhasya one is struck with Pataijali’s familiarity
With Patali-putra, its walls, its palaces, roads emanating
rom it to distant cities, and even with the guides who used
60 * teach? Patali-putra. In fact in my Magadhan litera-
ture, I have said that, he was full of Patali-putra. Hewas
also familiar with Vatsayanas and Gargayanas of whom the
former we know from Harsa-carita, were settled at Priti-
Ktita in the hermitage of Cyavana twenty-five miles south
west of Patna near the Sona, irom remote antiquity.
Atanjali says that he resided with his students for a time
vt Kasmira where he ate rice.
Personal history of
Patanjali.
He says that he officiated at a sacrifice of Pusya-mitra.
XxXll PREFACE.
He also says that in his time the Greeks beseiged the
Madhyamikas and Saketa but he did
not see it. Itis well known that Pusya-
mitra dethroned the last representative of the Maury@
dynasty at Patali-putra and assumed supreme power?
though under the humble name of Sena-pati. It is also
well known that he performed the horse-sacrifice twice.
It is also known that Pusya-mitra fought with the Greeks
and defeated them in a great battle. Pusya-mitra’s date,
therefore, is well known. It is about 180 B.C. and he
reigned for 36 years. So the literary activity of Patanjali
will fall between 200 and 150 B.C.
His date,
The state of language in Panini’s time was not a very
complicated one. ‘The literary langu-
The state of language age was all Brahmanic and what
from B.C. 600 to : — os, .
AD. 800 Panini calls Bhasa. He has about
1600 rules out of, say, 4000 for the
obsolete or the obsolescent language of the Vedas. He has
separate rules for rks., yajus, mantras, brahmanas and
the general vaidika language or chandasa. He had not to
suard the language against the inroad of vernaculars,
though the vernaculars were getting pretty str ong for a
century or two before him. Sisu-naga is said to adie pro-
hibited the use of Ta, tha, da dha, na Sa, sa at the court of
Magadha. That shows he was a vernacularist. The liter-
ary language at the time of Panini, however, was not much
afraid of the inroad of the vernaculars. But in Patan-
jali’s time the case was the reverse of it. The preachings of |
the Buddhist and Jaina monks had given a literary charac-
ter to many of the vernaculars, and there was the mixed _
language in which the books of the Maha-sanghikas were
written. Asoka and his successors issued their edicts in the
vernaculars of the provinces.
: eal
= ——_
Se ee ee eee OO er eb ler te eiipats SO
PREFACR. XX11i
Patanjali had to guard the Brahmanic language
from contamination with these. In the
very opening of his Great Commen-
tary, he speaks of the pure word ** go” being changed into
“gavi,”’ “* goni,’’ etc., but that they are all wrong while
‘“go”’ is the only correct form. But a keen observer like
Patanjali did not fail to perceive that the vernaculars will
gather strength and popularity. He therefore confined
himself to the language of the Sistas, that is, of brahmins
living in Arya-vartta, that is, practically the Madhya-deSsa
of Manu, who were wealthy enough to have a store of
grains for a year, who were experts at least in one of the
branches of knowledge of the brahmins;: who were disinter-
ested and not avaricious. He made his grammatical rules
for this class of men, and he often appeals to their usage.
He made his rules for a highly cultured class of brah-
manas. ‘Their number, however, dwindled century by
century and at last in the 7th century Sanskrit ceased to
be a spoken language. Sanskrit grammar in subsequent
centuries dropped the pitches of pronunciation altogether
and Sanskrit became a purely dead language.
The Asoka inscriptions.
The services of Patafijali as a grammarian are simply
invaluable. But his Great Commen-
whe learning and power tary is a store-house of information
of observation of ; : :
Patafjali. about ancient India, in all matters
social, political, literary, scientific,
philosophical and so on. But in this preface I am con-
cerned only with grammar.
Patafijali is said to have consulted the Curni-V rtti on
Panini, a Vrtti written long before Kasika. It is some-
times called Cunni-bhatti-vrtti or Culli-vrtti. Nirtura is
said to have been another vrtti-kara, (see preface to Nyasa
by Babu Srisa Candra Cakravartti).
XX1V PREFACE.
The study of the Maha-bhasya or the Great Commen- —
tary with Panini and Katyayana was
a very arduous work and therefore, we
often hear that the Maha-bhasya dis-
appeared from the field of Sanskrit for many centuries in
many places. In Kasmira, Abhimanyu is said to have
reintroduced the Great Commentary during his reign.
Bharttr-hari revived the study of the Great Commentary
and Panini inthe 7th Century A.D. In the same century an
attempt was made by the Buddhist commentators of Panini—
to deduce every grammatical fact from the sttras of Panini
themselves rejecting the Great Commentary altogether.
This produced the Buddhist commentaries Kasika, the
Nyasa and others. A further attempt was made to restore
the Great Commentary at Kasmira by Kaiyata, who wrote
the Maha-bhasya-pradipa, but that made the study of
the Great Commentary still more arduous. During that
time the study of the Great Commentary remained in
abeyance, smaller works of the nature of school books
came to the fore and satisfied the need of ordinary people.
But about the time of the Muhammudan conquest panditas
began to have recasts of Panini. The rules were not newly
made, but, were differently arranged with omissions of
these that are not necessary, for such Sanskrit works as
are studied at the time, and at the place of writing these
recasts. High class sannyasis, however, always stuck to
the Astadhyayi and to the Great Commentary.
The study of the Maha-
bhasys.
i
sfp~=
”
~
The Marathas, in the 16th and the 17th centuries,
made a vigorous attempt to revive these works, and wrote
commentaries on the Great Commentary. The last and
the most extensive of these is the Bhasya-pradi-podyota.
But all their attempts failed and the field all over India, is
held by the recasts of Panini and some school books.
PREFACE. XXV
The next great name after Patafjali in the matter
of explaining the Astadhyayi of Panini is Kaiyata. His
father was Jaiygata. He was most probably, as the name
indicates, a KaSmirian. Kaivata’s date is not known,
but he probably flourished in the tenth century of the
Christian era. There is a gap of nearly 1200 years between
Patanjali and Kaiyata, yet Kaiyata is a direct follower
of Patanjali in the direct line of orthodox school of Panini.
The intermediate writers on Panini were mostly Buddhists.
They did not much care for Patanjali. Kaiyata has made
use of older grammarians, of these two are Apisali and
Kasa-krtsna. ApiSali is quoted by Panini himself and
K\asa-krtsna is several times mentioned in the Maha-bhasya.
As I have said before in the paragraph dealing with
Katyayana, INaiyata has quoted 34 more varttikas than
Patanjah. WKaiyata was a pupil of Mahesvara.
Kaiyata has been commented upon by Nagoji Bhatta
who was a Maharastra brahmin and who derived his liveli-
hood from Rama, a king, or petty Raja of Srmgavera-pura,
a few miles north of Allahabad. His father was Siva-
Bhatta and his mother was Sati. He was the pupil of
Hari Diksit, the grandson of Bhattoji Diksita. Nagoji
Bhatta died at Beneras, so the tradition says, on the day
Warren Hastings was beset by a furious mob at Beneras in
1775 A.D. Dr. Belvalkar on the authority of Durga-
prasada, the learned editor of the Kavya-mala, in his intro-
duction to the Rasa-Gangadhara, says that Nagoji Bhatta
was invited by Sevai Jaya-Simha of J alpore in the year
1714 at his. horse-sacrifice. But Nagoji excused by saying
that he has taken a vow not to leave Beneras in his life
time.
Antpa-Simha, the Raja of Bikaneer and one of
Aurungjeb’s generals, availed of the aid of Nagoji in
XXVI1 PREFACE.
writing a work on Smrti, the draft of which with interlinear
corrections is to be found in the library of the Asiatic
Society of Bengal. Nagoji Bhatta was a man of great
learning and has written commentaries on standard works
of various Sastras. His Commentary on Kaiyata’s Pradipa
is known as Udyota or light.
Nagoji had a pupil, named Vaidya-natha Paya-gunde,
another Maharastra brahmin of Beneras better known as
Balam-Bhatta. He commented upon the work of his guru
and called it ‘Chaya.’ Balam-Bhatta, too, was a man of
great learning and wrote commentaries on works on Dharma:
Poetics and Vyakarana.
Bhattoji Diksita, whose Siddhanta Iaumudi is the
standard work on Panini’s school of grammar, wrote a
commentary on the Great Commentary. ‘This commentary
was entitled the Sabda-kaustubha. Aufrecht says, that
this commentary went up to the first pada of the first
adhyaya. Dr. Belvalkar says, ‘‘ This was left probably
incomplete though he must have written as far at least as
the fourth ahnika of adhyaya three.” But our Catal. No.
4224 has a colophon ‘the first ahnika of the first pada
of the fourth chapter.’ It is in the course of publication in
the Chowkhamba series. It is a voluminous work and
Balam-Bhatta wrote a commentary on it entitled Prabha,
still more voluminous a work it must be.
It is said, by all authorities that Sabda-kaustubha is
a commentary on the Astadhyayi, but in the colophons of
the MSS. of that work in this Catalogue from 4224-4227
the Ahnikas are always mentioned. Astadhyayi has no
division in Ahnikas, while the Maha-bhasya has it, there-
fore, this is a commentary on the Maha-bhasya and not :
PREFACE. XXVI11
on the Astadhyayi. This is proved by what Bhattoji
Says in the preamble of the Sabda-kaustubha—ufaartfaa-
WET ay: WRASSE | That is, I am picking the jewel of
Sabda from the ocean of the Great Commentary spoken by
Phani or Patanjali. After completion of that work he
wrote 71 Karikas, commencing with——wfarat fear Tes:
Tae saai | I have picked up the jewel of Sabda from
the ocean of the Great Commentary spoken by Phani or
Patafjali. What has been settled there is now being spoken
in brief, Thirty-five of these seventy-one karikas have been
commented upon by Vana-mali Misra who was a direct
disciple of Bhattoji. This tika is given in our Catal. No.
4229. All the 71, however, were elaborately commented
upon by Konda-Bhatta, who was the brother’s son of
Bhattoji under the title of Vaiyaikarana-bhusana-sara or
simply Bhusana which has been printed in Beneras. So
the Sabda-kaustubha was a commentary not on the Asta-
dhyayi but on the Maha-bhasya and it was finished by
Bhattoji. It has another commentary called Prabha,
Catal. 4228.
Lhe orthodox Brahmanical commentaries on Panini’s
sutras have come to anend. The Buddhist commentaries
will now be taken up. The Buddhists for a long time did
not follow Panini. They began writing in the district
dialects, then came the mixed language, and after that, Sans-
krit of a sort. Even the best of the Buddhist Sanskrit
writers, used expressions which are not sanctioned by
Panini. ASva-gho8a’s Buddha-Carita and Saundarananda
written in the first century of the Saka era are instances
in point. But, in the seventh century they, too, began to
study Panini. But, they did not care for Patafijali. They
wanted to depend entirely on the stitras of Panini and ina
less degree on the varttikas of Katyayana. Their best
XXVIII PREFACE,
known commentary is the Kasika in which all the sttras
of Panini have been commented upon, without any omis-
sion and in the order in which they appear in the NSttra-
patha. The authors of the work are Jayaditva and
Vamana. Both flourished in KaSmira and in the 7th
century. Belvalkar says *“‘The concurrent testimony of
MSS., from all parts of India assigns to Jayaditva the
authorship of the first five chapters of it, while the last
three belong to Vamana, who, (Belvalkan p. 36) probably
came soon after Jayaditya.”? Bhattoji finds difference
in the views of these two authors. The orthodox Hindus
did not like this new commentary. Magha in the second
canto of Sisu-pala-vadha speaks disparagingly of this sort
of commentary. He compares politics without S8pa8a, /.e.,
spies, with grammar without paspasa or the nine first
ahnikas of the Maha-bhasya. Some think that Vamana, was
a minister of Jayapida of Kasmira and that the King
Jayapida was Jayaditya himself.
Kielhorn says ‘‘ The text of the Astadhyayi as given
in the Kasika differs, in case of 58 rules, from the text
known to Katyayana and Patafijali. Ten of these 58 rules
are altogether fresh additions, nine are a result of separat-
ing (by Yoga-vibhaga) the original 8 stitras into 17.
In nineteen cases new words have been inserted in the
original sitras, while in the rest there are other changes in
the wording etcetera of the sittras.’’ Some of these
changes were suggested by Katyayana and Patajijali and
others were taken from Candra-gomi’s grammar. It-siang
says that Jayaditya died about 660 A.D.
In the Kasika the commentary on Panini’s stitras is
preceded by a commentary, short though it is, on the
fourteen Siva-sttras.
PREFACE. XSix
Kkasika had many commentaries, the best of them is
by Jinendra-buddhi. The work is called Nyasa, or Kasika-
vVivarana panjika. The Commentator is described as Bodhi-
sattva-desiy-acaryya, that is, a teacher little less than a
Bodhisattva. This stamps him as a Maha-yanist writer.
The word Panjiké requires an explanation. There are
three classes of commentaries. Tika or laghu-tikaé; Vrhat-
tika; and Panjika. The first two terms require no explana-
tion, one is notes and the other, a running commentary,
but the third means sarvartha-bhafjika, that is, explaining
everything arising out of the text. The Nyasa is written in
the same style as the Maha-bhasya and gives us a good deal
of contemporary information as the Great Commentary.
Belvalkar says, ‘‘ As to his date he can not be later
than 750 A.D., seeing that he is referred to by Bhamaha,
who says that, a poet should never employ a compound in
which a verbal derivative in Tre is compounded with a
noun in the genitive case and adds that he should not
support such usage by the authority of the Nyasa, which
presumably is the same as this work.’? But this is un-
convincing as there were other works entitled Nyasa before
Jinendra-Buddhi-Bana speaks of one.
The work Nyasa has been printed and published by the
Varendra-Research Society under the editorship of Pandita
Srisa Candra Cakravartti, Reader, Dacca University. He
had a good deal of trouble in collecting the MSS. of this
work. A complete MS. was nowhere found. He had to
pick up different parts of the work from different places
throughout India. He has done a good deal for, the
Buddhist Commentaries on Panini.
There is another commentary on Kasika, called Pada.
mafijari by Hara-datta, a brahmana of Southern India
XXX PREFACE,
son of Agnikumar. He is said to have been an incarnation
of Siva, ina Purana. Hara-datta is to a great extent in-
debted to Kaiyata so he must come in the llth century.
He is quoted by Madhavacarya and Malli-natha. Thougha
little out of the place here, as I want to finish the Buddhist
commentaries on Panini, so I venture to speak something
of the Bhasa-vrtti and its commentaries. One of the
commentators says that Laksmana-Sena, the last King of
Bengal, wanted to have a Sanskrit grammar without the
Vedic archaisms and their phonology and so he employed a
Buddhist scholar of great reputation, named Purusottama-
Deva, to write such a grammar. This is Bhasai-vrtti. It is
Panini’s stitras without svara and vaidiki. The second
pada of the sixth chapter deals entirely with svara, so the
Bhasa-vrtti omits it altogether. The Bhasa-vrtti was
commented upon by a Bengali brahmin, Srsti-dhara-Cakra-
varti in the 17th century A.D. most probably by the
middle of it. The commentary is rather diffuse and
wanting in originality, therefore the editor Sriga Candra
did not like to publish it. There is another commen-
tary, by Visva-raupa called Panjika, which is given in No.
4250 of this Catalogue. Visva-ritpa says that, the Bhasa-
vrtti had many commentaries before him, still he attempts
one, because when the parrots and peacocks sing should not
the tittibha chirp ?
The accessaries to the study of Panini are seven al-
Accessories to the study beget: ) ala phoe (2) Dhéikue
Gceans patha (3) LinganuSadsana (4) Siksa _
| (5) Unadi-sttras (6) Phit-satras (7) _
Paribhasa-sitras.
(1) Gana-patha, Gana means a list of words under-
going a common grammatical change. The formation of
PREFACE. XXXII
Ganas is the direct result of the habit of the ancients
in India to write Anukramanis. There is a book in which
all these Ganas are put together and it is attributed to
Panini. Panini might have edited them to serve his own
purpose. But tradition has it that even Sakatayana had a
Gana-patha. The Ganas are of two kinds, complete Ganas,
and Akrti-ganas. In the first, all the words in a Gana is
enumerated and. in the second, the enumeration is not
exhaustive, only a few leading types are given and the
student is left to decide from similar grammatical changes
whether a word is to be taken in or not. In the Asta-
dhyayi, Panini gives only the first word of a Gana and then
the word “adi”. The exhaustive enumeration of words in
the Gana is left for the Gana-patha. Many people suspect
that these Ganas have been tampered with in subsequent
centuries. But all agree that, the text as we have it, is
settled by Panini. In the Akrti-ganas the question of
tampering does not arise. New words are added by the
student from similarity of changes. The Ganas are arranged
according to the Astadhyayi Stitra-patha. There are al-
together 258 sitras in which the Ganas occur. Our Catal.
No. 4356 and 4356B are abridgments of Gana-patha, the
former by Rama-Krsna and the latter by Geya-deva who
gives only the ganas of nouns.
(2) Every grammarian had to make his own list of
verbal roots from the pre-existing
indices. Panini’s Dhatu-patha consists
of 1944 roots, plus 20 Srauta dhatus which have to be
picked up from the siitras of Panini. The works on roots of
the school of Panini have many commentaries. Our 4350
is by Ksira-svami, the Kasmirian. It gives the meanings of
roots. Numbers 4351 to 53 are by Bhima-sena and 4304 is
by Maitreya-raksita, one of the Buddhist commentators
Dhatu-patha.
XXX PREFACE.
of Panini. Itis later than Bhima-sena. Maitreya flourish-
ed according to Srisa Babu about 1100 A.D. The great-
est work on Sanskrit roots of this school is by the well
known Madhavacaryya. It has been published in the
Mysore Sanskrit series. It is of an encyclopedic charaec-
ter. Babu Srisa Candra has written a commentary on
the Dhatu-Pradipa by Maitreya in his edition published
by Varendra Research Society.
(3) Panini’s Linganusasana consists of 187. sitras,
Unlike modern languages, Sanskrit has
a gender for every noun, not neces-
sarily determined by the sex. The LinganuSasana cives
rules for determining the gender of nouns.
Linganu-. sasana.
(4) The Paniniya Siksa and its commentaries have been
described in the second volume of this
Catalogue from 1500 to 1508. Phis
Siksa consists of 58 or 59 couplets, but there jig 4
copy of this work, No. 444 of the LO. ( ‘atalogue,
which consists of 21 couplets only. Belvalkay Says,
the Siksa bears, on the face of it, the stamp of modernness.
notwithstanding the fact, that a verse from it has found
its way into the Maha-bhagya. It seems that there wag
a short work in 21 verses which was ancient and from
the pen of Panini, but much has been added in move
modern times. (Vede pages 32 and 33 of my Magadhan
literature.)
Panintya Siksa.
These four are given in an ancient couplet as coming
from Panini. The other three seem to
be of different authorship. The Unadi-
sutras are attributed to Sakatayana by Kasi-natha Pandu-
ranga Parava, the Bombay editor of the Siddhanta-Kau-
mudi dated Saka 1815. It is in five chapters. There are
UnAdi-sutras.
eee
PREFACE. XXNIL
authorities both Indian and European for attributing this
work either to Panini or to Katyayana, but the Great
(‘commentary says,
ae uTfafacaere: |
that is, Panini was not a Vyutpatti-vadi. That is, he did
not hold the view that all the words in the Sanskrit langu-
age can be derived from Sanskrit roots. So he did not
write the Undadi-sitras but left them out by saying
sareat asa! On the other hand Sakatayana held the
view that all Sanskrit words are derivable from Sanskrit
roots. So I think Kasi-natha is right in attributing the
Unadi-sttras to Sakatayana (vide p. 200 of Parav’s Sid-
dhanta Kaumudi Parisistani vide also my Magadhan Lite-
rature, pages 33 and 34). There is a commentary on Unadi-
sutras by Ujjvala-datta. It has two recensions. The litho-
oraphed edition has ten sections, while Aufrecht speaks of
five. Ujjvala-datta is later than Maitreya-raksit whom he
enumerates as one of his authorities. Some say the Unadi
Sutras are by Vara-ruci. (See section on Vara-ruci.)
The Phit sittras treat of phonetics. Everybody
aorees that these sttras are the work
of Satanavacarya. The sitras are
divided into 4 chapters and number 87 in all. Max Miiller
says, that they are pre-Paninian, but Goldstiicker says
that they are post-Paninian. Some of the Indian
commentators support Goldstiicker. (See Magadhan
Literature, p. 34.) It is called Phit-stitra because the first
stitra is faatsa Feta | Phis when coupled with other words
will be Phit.
Phit Satras.
The Paribhasas number 134. These are axioms or rules
of interpretation. Such rules must exist
from the begining of the sutra litera-
Paribhasa Sutras.
XXXIV PREFACE.
ture. Whereever there are sitras, there must be rules for the
interpretation of the sutras. The present Paribhasa-patha
is a collection made, in later times by some unknown
author and their usefulness being apparent, they have
repeatedly been commented upon. Paribhasa existed before
Panini. He made some, Katyayana and Patanjali made —
others, and the unknown author added some. In the
present Catalogue there is a Paribhasa-patha attributed to
Vyadi. It is called Vyadi-viracita-Paniniya-paribhasa, No.
4337. The numbers of Paribhasa patha are from 4338 to
4340. Its commentaries are treated of from No. 4341 to
4347. The commentaries are by Sira-deva, N agoji- Bhatta
and Vaidya-natha Paya-gunde.
The philosophy of grammar was never treated of —
separately before the time of Bharttr-
Bhatti bans Veibyee hari, who died according to It-siane
padiya. , : o?
in 650 A.D. He is said to have written
a commentary, on the Maha-bhasya. Gana-ratna-maho-
dadhi says, that Bharttr-hari explained only the first three
padas of the Maha-bhasya and Buhler says that, fragments
of the commentary are to be found in the Royal Library of
Berlin, and in the Deccan. Belvalkar says, that the work
has not yet seen the light. We know that in the 17th
century Bhattoji after writing a commentary on the Maha-
bhasya wrote 71 verses, on the philosophy of grammar.
Bharttr-hari, thousand years before, seems to have done
the same thing, that is, after writing a commentary on
the Maha-bhasya, he wrote a short metrical work, on the
philosophy of grammar, in three chapters, called the
Vakya-padiya. This short work would have no meaning
without a commentary on the Maha-bhasya.
The grammarian Bharttr-hari is often identified with
PREFACE. XXXV
the poet Bharttr-hari, the writer of the three or four
Satakas. This is at best very doubtful, for the earliest
quotation from the poet Bharttr-hari is by Ksemendra in
the llth century.
The grammarian Bharttr-hari laments the corruption
of the text of the Maha-bhasya, which, he says, Candra-
carya re-edited shortly before his time.
Dr. Belvalkar thinks that this Candracarya and
Candra-gomi are one and the same person. This also is
extremely doubtful. Candra-gomi, as I will presently
show, was an East Bengal man and most probably a
Buddhist. But Candracairya seems to be a Brahmanical
writer, and Candra-gomi does not make much use of the
Maha-bhasya, though most of his sitras have been taken
from Panini.
The historical informations that we glean from the
Vakya-padiya and its commentaries, are these :—Vyadi
wrote a work in 100,000 Slokas entitled Samgraha, but in
course of time people anxious to get a knowledge of
srammar in a short time, neglected its study, and so the
work perished. Patafjali wrote the Great Commentary,
containing the germ of all theories, from the ‘Samgraha.
But ordinary people could not study it all. There were
grammarians, Vaiji, Saubhava, and Haryyaksa and others
fond of useless controversy who made the work written by
that Rsi from the Samgraha, still more difficult. So the
Sastra of Vyakarana was lost to those who wanted to study
Patanjali. In course of time that work remained in the
Deccan only as a manuscript. Candracarya, Vasu-rata and
others getting the Sastra from Parvata (the Commentator
says, a part of Telingana), gave currency to it. The
XXXVI PREFACE.
author’s guru Vasu-rata, prepared for ‘** us ° this short work,
The commentator says, that Bharttr-hari attributed his—
work to his guru. Knowledge becomes clear by the help —
of Sastra and philosophy. Mere logic can give very little.
Without Purana, without Agama and without the advice
of old people knowledge cannot be clear.
The Vakya-padiya should be properly called Varna-
vakya-padiya, for the first Chapter treats of Varna or
articulate sound, though it is called Brahma-Kanda. The
second Kanda treats of Vakya or sentence and the third of
Pada or words. In the first Kanda are given all the various —
theories about sound, or rather articulate sound. and the-
relation of words with their meanings. It quotes extensively |
from Samgraha, which, it declared, had perished. These ~
may be second-hand quotations.
The commentary of the first Kanda, as printed in the
Benares Sanskrit Series, is by Hari-vrsabha ;- the commen-
tary, on the second Kanda, is by Punya-raja. He says, that
Rajanaka Stra-varma wrote a commentary on, the second
Kanda, by hearing from one, who was extoled by learned
men everywhere. Sasainka was perhaps a disciple of (Sara-
varma. From Sasanka Pinya-raja got explanations which
he has put together in this commentary. The third Kanda
has been printed with the commentary of Hela-raja, the
son of Bhiti-raja.
There is a work entitled Bhaga-vrtti. It has not yet
been found even in fragments, but it is extensively quoted
by Kramadisvara, Jumara Nandi, Goyi-candra and the
Buddhist commentators of Panini. One commentator of
the 17th century named Srsti-dhara attributes it to-
Bharttr-hari and Babu Srisacandra Cakra-varti has tried to 4 4
PREFACE. XXXVI
prove that it is by Bharttr-hari, but the facts and areu-
ments he has put forward are absolutely unconvincing (see
his preface to the edition of the Nyasa, page 14 and note 17).
He says ** It-siang in a part of his book, makes waEtE
the author of a commentary on utfafa.—He calls it * Pei-
na, which is surmised by the Japanese translator (Mx. J.
Lakakusu) to be the ‘* Veda-vrtti’? or Aerafa”’ (17). Says
It-siang—-** A person who has studied so far as this book, is
said to have mastered Grammatical Science.’? Now this
**Pei-na”’ is probably the aumzefa which is a commentary
on the *“ #ergrat’’.
And in note 17 he says, ‘* May not the ‘* Veda-vrtti’’
as well be a corruption of the word Waata at death ie.,
waafa ?” Again he says, “ efeuxtata the author of the
watzaufaata, a commentary on the utatefa by waatanes,
remarks in the end of the book—ameta utefeat factwat
STILa aac” | ;
No reliance can be placed on any historical statements
by Srsti-dharacarya as he belongs to the 17th Century and
to North Bengal. In this very quotation he confounds
Bhatti and Bharttr-hari, for Sridhara-sena was the patron of
Bhatti, the poet, and not of Bharttr-hari, the grammarian.
Our number 42544 is a fragment of an interesting work
refuting the opinion of all previous commentators on Panini
and establishing his own. It is by Cakra-pani, the author of
Prakriya-pradipa and the pupil of Sesa VireSvara, We
have not got the first leaf, Hggeling (Catal. No. 728.) has it
but he missed the name of the author and of the book which
are there. The author is Cakra-pani and work is Paramata-
khandana.
XXXVI PREFACE.
AINDRA-GRAMMAR.
It has already been said that there were grammars
before Panini and the first place, among these grammars, is
given to the Aindra school. Indra is said to have studied —
grammar with Vrhaspati and there were no rules. Vrhas-_
pati was the teacher, and Indra was his student. ‘Thousand
years passed yet they did not go far in their knowledge.
So rules were made and a beginning made of the science —
of language. Sdayana says, in his commentary on the ~
Taittiriya Brahmana, that, before Panini, there was a
Srauta Vyakarana. He might have meant the Aindra —
Vyakarana. No ancient work of this school has come
down to us. The only grammar of this school, that ig_
extant, is the Katantra or the Kalapa. It takes the
alphabet as it is, and attempts at no Siva-stitras. Its®
nomenclature is taken from the ordinary language, and-
they are not algebrical, like those of Panini, and the
subsequent schools. The Pratisakhyas seem to be the
ancient representatives of this school. But they do not
count as they are not treatises on grammar,
The Kalapa Vyakarana had its origin in Southern
India in the Ist Century A.D. One of the Kings of the
Sata-vahana dynasty took a wife from Northern India : *
she spoke Sanskrit which he did not understand, and often _
made curious and ludicrous mistakes. At last unable to
bear the jeerings of his wife, he made up his mind to study |
Sanskrit, and asked his Pandita Sarva-varma to write a _
treatise on grammar, that would give him a workable —
knowledge of Sanskrit. Sarva-varma produced a grammar |
which in six months gave the king what he wanted. This
tradition is given in detail in H.P.R., IJ, 50. The work is
called ‘Katantra’ or, a short work. It isin fact a Sanskrit _
grammar for beginners.
*
How short it was, wehavenomeans _
PREFACE. XXNIX
of ascertaining; for being very short many people threw into
it rules that were likely to make it more useful. It had no
rules for Krts or verbal nouns. That chapter was added to
it by Katyayana. Similarly. sections on Taddhita suffixes
were also added. __Belvalkar says, ‘* Thus instead of nearly
4000 sutras of Panini, Sarva-varma could finish his work
in about 855 stitras or including the Krt section, 1400
sutras only.” The Dacca edition says that the number
is 842, Hggeling’s edition gives the number as 829.
How short Katantra grammar was, may be inferred
from the two chapters (Chs. 203 and 204) in Garuda-
purana devoted to it. Panini’s name was most probably
lost at the time when Garuda-purana was written.
These chapters were written in the form of an interlocution
between Kumara and Katyayana; both the chapters begin
with the word Siddha, meaning current and ordinary.
Chapter 203 begins with Siddha-sabda-vivekaya and chap-
ter 204, with Siddhodaharanani. Chapter 203 treats of
conjugation and declension. It simply gives the siitras of
Katantra made into verses. The Krt is treated in one
single verse at the end, Chapter 204 gives current exam-
ples of sandhi, samasa and taddhita very briefly though. It
gives also similar examples of linganuSasana and sarva-
nama. Most of the examples are found in the Katantra.
In speaking of Katantra grammar I am referring to the
East Bengal recensions of it.
The inference from my study of these two chapters is
that Sarva-varma being a clever teacher for royal pupils
taught some topics of grammar by stitras and others by
examples only. Subsequent redactors added rules for
which he gave examples only. So originally as the Katan-
tra came out from the hand of Sarva-varma, it did not
xl PREFACE.
me
contain a quarter of the rules. as are now credited to-
him.
If this be the condition of the Iwatantra grammar in |
Garuda-purana, it will be interesting to know when the
Garuda-purana was written. I have said, under head —
Garuda-purana, in the preface to the Purana volume of
this Catalogue, that it was written during the early years of
the Gupta supremacy in India. The grammar gradually
developed in two recensions, one in Kasmira and the other
in HKastern Bengal, where they are still current.
In the eighth century a comprehensive Vrtti commen-
tary was written on the Katantra, as it then stood, by |
Durga Simha, who is generally regarded as belonging to the
Saiva sect. He is put down in the 8th century, because, he
is quoted by Hema-candra in the 12th, and he quotes from
Candra Vyakarana. But it is not known whether Durga-
Simha knew the KasSmirian recension.
Belvalkar says that, the earliest commentary on
Durga Simha’s Vrtti is Katantra-vistara by Vardhamana,
whose patron was Karna-deva ( See Preface to my Nepal
Catal. p. vii). In the Darbar Library, Nepal, there is a
copy of it written in 1533 A.D. Vardhamana’s Vistara
has a sub-commentary by Mahamahopadhyaya Prthvi-
dhara.
Soon after Vardhamana, came Katantra-vrtti-panjika
by Tri-locana Dasa (4376 to 4381 of this catalogue). It has
been quoted by Vopa-deva in the 13th century and by
Vittala, the commentator of the Sarasvata.
Durga Simha’s Katantra-vrtti has a number of
commentaries. ‘The first and the most important of which
PREFACE. ' xli
is by his namesake, Durga Simha, who invokes Buddha
in his Mangalacarana. This commentary is called Tika.
Then comes the Pafji or Panjika, by Tri-locana Dasa, who
is quoted by Vopa-deva. The Dacea edition publishes
these commentaries in full, and as an appendix adds
Kalapa-candra on the Pafjika, by Susena Vidya-bhisana,
also called Kavi-raja.
Durga-vakya-prabodha by Kula-candra is a commen-
tary on the Vrtti by Durga Simha. The writer describes
himself as the son of Vi8va-mahi-dhara.
Akhyata-panjika-vyakhya by Nara-hari aims at setting
right, wrong interpretations on the Panji. (H.P.R.. I, 20.)
Kalapa-pradipa by Vidya-sigara, the son of Maha-
mahopadhyaya Srikanta Pandita, whose proper name
appears to be Pundarikaksa, is a commentary on the Tika.
This Vidya-sagara has written a commentary on the Bhatti,
the grammatical doctrines of which agree with that of his
Pradipa, no complete and satisfactory MS. of which, how-
ever, has yet beenfound. (H.P.R., I, 50.)
Vara-ruci, is said to have written a commentary on
the Katantra Stitra, entitled Katantra-vrtti. The Vrtti
seems to have undergone a revision in the hands of Yaso-
mana; but there is a suspicious look about it. The invoca-
tion is identical with that of Durga Simha, though a
comparison shows that this is a different work. (H.P.R..,
I, 51.)
Hari-rama wrote a commentary most likely, on Durga
Simha’s Vrtti. (H.P.R., I, 52.)
Vidyananda by Vijayananda, (Catal. No. 4399, Au-
frecht in his Catal. vol. IT calls it Katantottara or Siddha-
nanda) is a commentary on Durga’s Vrtti.
xii PREFACE.
Katantra, being a very short school book, people
wanted to make it a comprehensive work; the standard
work of a powerful school. This they accomplished first by
writing commentaries: commentaries on commentaries;
and even commentaries on the third or fourth remove.
Not satisfied with that, people began to write supplements.
Of these supplements the most important is by NSri-pati
Datta, who supplemented almost every section of the work,
with additional matters. Sri-pati had a powerful commen-
tator in Gopi-natha Tarkacarya, son of Acarya-simha
Pasupati; who wrote Parisista-prabodha (Catal. No. 4387
—4390).
Siva-rama’s Siddhanta-ratnankura is a commentary
on Sri-pati’s supplement. (Catal. No. 4392.)
Katantra-candrika by Rama-dasa Cakra-vartti jg
commentary on a portion of the supplement of Katantra.
The author acknowledges his obligation to Gopi-natha
specially. Rama-daisa consulted later works of many
schools. He comes after Vidya-sigara. The same Gopi-
natha had a most appreciative commentator in Sankara
Sarma, who in his Katantra-parisista-prabodha-prakagika,
compares grammar to sugar-cane and logic to the machine _
which extracts juice from it ; and recommends hig readers _
to drink plentifully the juice extracted from orammar
by logic.
Sri-pati Datta’s supplement (Catal. No. 4385-4387 ) was
further supplemented by Tri-locana,
who is to be differentiated from Tri-
locana Dasa, the author of the Paniji-
Lri-locana belonged to the Vaidya caste and was the son of
Madhava Dasa, whose title was Kavindra. Sri-pati did not
Katantra-parisista and
its commentaries.
PREFACE. xiii
say anything about dhatu and taddhita ; Tri-locana supple-
ments that defect and adds some stitras on samasa.
IKKalapa-tattva-bodhini (Catal. No. 4891) in three
parts, is a dissertation on various parts of Katantra by
Rama-candra, the son of Hari-hara, belonging to the family
of Kanji whose later residence was the village Uttaracaiva
and whose ancient residence was Siva-pura-tapaika. Rama-
candra appears to have been a Maithila Brahmana who
invariably mentions the names of two residential villages,
one ancient another recent, in giving a description of the
family. The three parts of his work treat of sandhi,
karaka and the appendices. The first is an examination of
Tri-locana Dasa’s work on sandhi. Here Rama-candra con-
troverts the explanations of Susena Kavi-raja on the Pandji.
The other two parts are a commentary on the commentary
of Gopi-natha Tarkacarya on dSri-pati Datta’s commentary.
Karaka-ratnam is by a Durga Simha who quotes Kavi-
x raja: so he is a different person from
Accessories of Kiitantra. , : : .
(1) Karaka. the author of the Vrtti or of the
Tika.
Sat-karakam by Rabhasa Nandi (Catal. No. 4400 and
4401) is a collection of 14 couplets relating to Karaka with
‘commentary. It seems to be an ancient work, because the
author is quoted by Jumara Nandi.
Dhatu-ghosa by Rama-kanta ; Dhatu-mala by Sasthi-
dasa Visarada, and Dhatu-laksanam
by Danokacarya are works on roots of
the Katantra school of grammar. It is said that»
Katantra is current only in East Bengal. It has already
been said, that the Maithilas used the book. Sasthi-dasa
(2) Roots.
xliv PREFACE.
wrote his work at Gopala-pura, at the junction of
the Ganges and the Mahananda. Manorama (Catal. No.
4393) is a Vrtti on roots by Rama-natha Sarma, son of
Veda-garbha Tarkacarya, belonging to the Rayi family,
among the Radhiya Brahmanas. The Brahmanas of this
family had been for a long time regarded so low that
any matrimonial connection with them would reduce a
Kulina or a noble Brahmana to their rank. Perhaps the
author wrote at a time when the family prestige was not so
lowered.
A work on conjugation of the Katantra school 20es by
Conjugation. the name of VilveSvara Tarkacarya.
It is well known that the Tamadi 31 sittras, Rajadi 65
stitras and Rucadi 67 sitras, thouch
included in the Katantra sutras, ai
not by Sarva-varma. Eggeling has published these Stitras
in their proper places, the first and the third Without a
commentary but the second, Rajadi, witha commentary by
Ratnesvara Cakra-varti. In Bengal, the same Rajadi has at
anonymous commentary entitled Vrtti giving examples.
Rajadi-Vrtti.
The Rucadi has a commentary
Bengal by Madhu-stidana.
Rueadi,
y in
Rama-candra Cakra-varti and Raghu-nandana Siyo-
mani gave the meanings of grammatical terminations, and
of verbal roots. Rama-natha Cakra-varti wrote a work on
the declensions of nouns.
Katantra-kaumudi by Gangesa Sarma attempts to
justify various ungrammatical expressions in classical Sans-
krit literature according to the rules of Katantra grammar.
PREFACE. xiv
He seems to have been very proud, for he says that,
neither Candra-gomi, nor Durga Simha, not even Katya-
yana, knew so much as he did. He had looked into all
Sastras and he was an authority in determining difficult
points in Katantra. His invocation is mysterious; after
saluting Siva, he invokes a Dvi-janma whose fame is known
even in the Vedas.
Kalapa-tattvarnava by Siro-mani is on the five chap-
ters of Krt. The author quotes from
Panji and says that Katyayana taking
the bodily form of Vara-ruci, wrote the Krt prakarana
of Katantra. (Catal. No. 4384.)
Krt.
Krn-mafjari by Siva-rama-dasa Sarman (Catal. No.
4402) is a collection of Karikas numbering 18 and is com-
mented upon by the author himself. The father’s name is
Gopi-ramana Cakra-varti; The work quotes from Sri-pati,
Hema-kara, Sundara Kavi-raja, Yadu-natha and Kamala-
kara Cakra-varti.
Unadi-vrtti by Sarva-dhara (Catal No. 4394). It is
well known that the Katantra school
took the Unadi siitras from the Candra
Vyakarana, and adopted them to their own school.
Unadi.
Sara-nirnaya, by Rama-natha Cakra-varti, son of
Madhu-stidana ‘Tarka-vagisa, explains stitras foreign to
Kalapa, quoted by commentators of the school.
The KaS8mira recension seems to be much older than
Durga Simha’s commentary. The Sutra-
patha there, differs greatly from that
adopted by Durga Simha. The Laghu-vrtti by Chichu
Kagmira recension.
xvi PREFACE.
Bhatta contains many sutras not known to Durga Simha. |
Eggeling has in his notes pointed out prominently these
additional sitras, in his edition of the Katantra. The
MS. of the Laghu-vrtti, however, was obtained by him from
Burnell who worked in Southern India. Before Durga
Simhe became familiar to the Kasmirian Panditas, they
were busy with original commentaries of their own Panditas,
Bhatta Jagad-dhara wrote a commentary -called Vala-
vodhini. That commentary was commented upon by Ugra-
bhuati called Nyasa. One Ugra-bhiti was the teacher of
grammar to Ananda-pala, raja of Kas8mira, and his book
was popularised in that country by liberal donations from
the royal pupil, about the end of the 10th century.
Durghata-vrtti by Sarana-deva is another work of
this school, composed in the Saka year 1095. Sarana-deva
seems to have been a Buddhist, as he invokes Sarvajiia,
which, without any qualifying word, means Buddha, But,
the author allowed Sarva-raksita to revise the work for the
benefit of students. Stein notices the revised edition in
his Kasmira Catalogue pages 259 and 260; the same revised
edition is also noticed in page 105 of my Nepal Catalogue
Volume I. So Sarana-deva’s work has still to be dis- a
covered. In the extract given by Stein, there are certain
passages marked “Iti Raksita.”” It seems, revisions are
sometimes marked by the revisor’s own name. The authors,
Sarana-deva and Raksita, note only durghata or difficult
and doubtful points in Katantra.
Another work of this school comes from N epal. Itigs —
known by various names, Pada-stiryya-prakarana, Pada-
stryya-prakriya and Padarohana. The author is Saranga
Upadhyaya Utsava-kirti. In the present catalogue there
are three MSS., (Nos. 4396-4398) all from Nepal. In the
PREFACE. : xl vii
preamble, the author says, that he has consulted the
opinions of Sarva-varma, Guha and others. This raises
anice point. Hitherto, Katantra was also called Kaumara
and Kalipa: but, Saranga-deva makes Sarva-varma, the
author of Katantra, and Guha ?.e., Kumara. distinct authors.
Is this the grammar, the abstract of which has been found
in the Garuda-purana, in which Sarva-varma’s name is not
at all mentioned. The Kaumara vyakarana is distinct from
Katantra ? Sarva-varma takes the alphabet as current, but
Garuda-purana takes words and examples also as current.
Sarva-varma gives some technical terms and defines
them. Garuda-purana does not make anything of the kind.
Sarva-Varma teaches by Sttras only; Garuda-purana
teaches nama and akhyata by satras ; sandhis, samasas and
other subjects are taught by examples only. The sttras
given in Garuda-purana have all been found in Katantra,
and also the examples given there, in Durga-simha-vrtti.
So it may appear that Katantra and the Kaumara grammars
are not one and the same, and their relation will be an
interesting study.
It will be found in the preface to the Lexicon sec-
tion of this volume that Kali-dasa in his Dictionary entitled
Nanartha-sabda-ratna speaks of an ancient school of Sans-
krit grammar named after the Sun, and his friend, Nicula,
the commentator, adds the names of some other schools.
May not the Pada-stryya-prakriya be a short work on the
pada i.e., the declensions and conjugation of the Sun
school of grammar? In that case it seems that there
were other schools of grammar now lost altogether.
Thus it will be seen that, from a small beginning
this school of grammar rose to be one
Conclusion. '
of the most extensive, and scholarly
xIlvill > PREFACE.
systems. Simply from an elementary work on declen-
sion and conjugation it rivalled Panini’s system with all
its accessories. Not content with this,in the past gener-
ation, Candra-kanta Tarkalankara tried to complete it, with
a treatise on Vedic grammar and Vedic phonetics entitled
Katantra-chandah-prakriya. How to develop aschool book
into a school of grammar has been fully exemplified in the
history of the Kalapa-vyakarana. Moderns do often think
this a labour lost. Let a school book be a school book,
they think, and let erudite people go to Panini.
Burnell’s work entitled the ‘Aindra school of Sanskrit
grammarians’ will always remain an interesting and instrue-
tive study for those who care for the history of Sanskrit
grammar. It was published in 1875 and even now it has
not lost its importance. It has shown that, the Aindra_
system has been adopted in Tamil, in Pali and in other
languages of India in making their grammar, and the Prati-
sakhyas on Vedic phonetics all belong to this school.
Burnell thinks, that, the grammatical chapters in the Agni-
purana also belong to this school. This, I will presently
show, is not tenable.
Vopa-deva in his Kavi-kalpa-druma quotes a verse
giving the names of eight ancient
schools of sanskrit grammar. They
are :—-
The Candra school of
grammar.
Seas: armeattamat WiHStaa: |
ulfmaacaaat saraeifeuifear |
In this enumeration he makes Candra the second school
of sanskrit grammar. The founder of this school is Candra-
gomi, whose birth place was in the Varendra country or
North Bengal, but he lived at Candra-dvipa, in the Barisal
district, where he wrote his grammar. This account of
PREFACE. xlix
Candra-gomi is to be found in Pug-Sam-Zom-Zam, a rather
late Tibetan authority. His date is to be inferred from the
fact that, he mentions the victory of the Guptas over the
Huns, as occuring in his time, which he might have seen if
he wished: and it is well known that the Huns were defeat-
ed by the Guptas in the third quarter of the 5th century ;
and therefore, Belvalkar has placed him in 470 A.D., which
may be accepted as correct if the Vrtti-kara is the author
himself. ‘This was the period when Candra-dvipa was an
important city. It was invaded by Candra-varma, who
was defeated and killed by Samudra-Gupta, and it was also
at Candra-dvipa about this time, that the Kaula system of
Saivism took its rise. Candra-gomi was a Buddhist and
he wrote his work in the interest of his co-religionists. In
fact from this period Buddhist Sramanas began to write in
correct Sanskrit. All Buddhist works before this time were
written in what is called Buddhist Sanskrit 7.e.. ungram-
matical Sanskrit. Even the very best of them contounded
the participles, in the use ‘ ktva’ and ‘ yap.’
As Candra wrote in the interest of the Buddhists, he
did not treat of the Vaidik grammar and phonetics. for
centuries Candra’s grammar remained in India, only as
a name, till Biihler from KaSmira and Professor Bendall
from Nepal recovered fragments of it, and I acquired a com-
plete copy of it, from that interesting and ancient country,
Nepal. Dr. Bruno Liebich, then brought the whole system
from ‘Tibet in translation. He has published the work in
original Sanskrit with some accessories.
In a way Candra is an improvement on Panini and
the three sages. He has reduced Panini’s fourteen Siva-
stiitras into thirteen; he has modified the system of Pratya-
haras of Panini; he has changed the wording ot Panini’s
] PREFACE.
rules and their arrangement ; he has thirty-five stitras more |
than Panini’s. Jayaditya and Vamana have incorporated —
these into the Kasika, but Kaiyyata has pronounced them 7
as Apainineya. The number of sittras in Candra is 3060 as
against 3983 of Panini.
Candra has not put the Sarjnas or grammatical tech-
nical terms and their definitions in one place but has dis-9
tributed them over the whole work and they are so few
that this grammar is called Asarhnjna. The arrangement of ;
subjects in his work is suited for scholars and not. for
beginners.
Chandra-gomi is invariably confounded with Candra-_
carya mentioned in the second kanda of Vakya-padiya.
Candracarya is mentioned in verse No. 489 in the word —
waraiatfefa: | The Commentator Punya-raja explains:
‘ aT aTa-agala-Ta-veeta’ |
Vasu-rata was the guru of Bharttr-hari, the author of .
the Vakya-padiya. This we learn from the summary given,
at the end of the second kanda, by Punya-raja. In this
summary, he says, Vasu-rata brought the Bhasya from _
Parvata, while the text says Candracarya and others did ita
and among the others the commentator includes Vasu-rata, _
So Candracarya and Vasu-rata must belong to the same _
generation. Therefore Belvalkar is not justified in sayin |
“That Candracarya was two generations before Bharttr- |
hari.” He was an elder contemporary; so Candracarya 7
must come about 600 A.D., while Candra-gomi, if he hag
written the Vrtti himself, would be placed in about 470 A.D., |
if not earlier. How much earlier, wecannot say. The argu.
ments, that Malli-natha quotes Candra-gomi about the use _
of the optional forms, Visrama and ‘ Visrama’ fails; because _
we get no siitra sanctioning the optional form in Candra- —
PREFACE. li
gomi. ‘The optional forms might have the sanction of
Candracarya.
Agni-purana, chapters 248 to 258 both inclusive, treat
of grammar. In this grammar, the alphabet is not taken
as it is current. It takes it in the Siva-sitra form, so this
does not belong to the Aindra school. It treats the greater
part of the grammar by examples. But there are more
examples in this than are to be found in the Katantra
grammar. ‘The few rules that are given do not belong to
Kkatantra. In the Taddhita chapter, it derives the word
‘Candraka’ as, one who either knows, or studies the Candra
grammar. I, therefore, take these eleven chapters of the
Agni-purana to belong to the Candra grammar.
In this catalogue, Candra Vyakarana is described in
three numbers, 4411 to 4413; the first two are accompanied
with Ananda-datta’s commentary,* and the third with that
of Bhiksu Ratna-mati. But they are so fragmentary that
no inference can be drawn from them; so are the descrip-
tions of this Vyakarana in Bendall’s Cam. Cat., and in my
Nepal Cat. Liebich gives the Sitra-patha in six chapters
divided into four padas each, the Unadi-patha in three
chapters, and the Dhatu-patha. The number of Dhatus
mentioned are 1182 and the number of Candra-stitras are
3060 and the number of Unadi-siitras are 328. The Linganu-
gasana and the Gana-patha of this school are referred to
by authoritative writers of other schools. The Upa-sarga
vrtti is found in Tibetan version only, the Varna-siitra is to
be found in a MS. in the Deccan College Collection No. 289
of 1875-76. No work on Pari-bhasa has yet come down to
us. These are the accessories of the Candra school of
* Eggeling in page 196, line 19, speaks of two other commentators (1) Vimala-
mati (2) Ratna-Sri-pada.
lu PREFACE.
grammar. So, it was a school fully equipped with all the —
accessories, like the Panini school.
The Candra-Vyakarana, at one time, had an extensive
circulation in Buddhist India. and with the decadence and
fall of Buddhism, it has very nearly disappeared from the
soil of India. In Ceylon it was much in use at one time,
but, the Balavabodha, a school book of this school, hag
completely ousted other works from Ceylon.
i ul
~<
é
Jinendra is one of the eight schools of grammar
alt ated mentioned in _Kavi-kalpa-druma as
ancient. ‘Tradition says, this system
of grammar was revealed by Maha-vira to Indra, therefore, —
itis known by their joint names. The work was current
among the Jainas. In the colophons, however, the work
is invariably attributed to Deva-nandi and Deva-nandi is
quoted as the author by authoritative works on grammar
and lexicon. Deva-nandi has often the title of Piajya-
pada. In the Nandi-samgha-pattavali Deva-nandi and
Pujya-pada are one and the same person. It says, Ptijya-
pada was another name of Deva-nand1. ’
Prof. Pathak, in his paper in the /ndian Antiquary, |
October, 1914, assigns this grammar to the later part of.
the 5th century A.D. His principle reason is that Kasika—
seems to betray a knowledge of Jinendra-vyakarana; that
it alludes to I¢var-krsna, the author of the Samkhya-karikas.
It alludes to twelve years’ cycle of Jupiter, according to the |
Heliacal rising system, a system which was in vogue at the >
time of the early Gupta kings. It has two versions, the
shorter one, with about 3,000 sttras, is commented upon |
by Abhaya-nandi in what is called the Maha-vrtti; while
the larger version gives about 700 sttras more and is
commented upon by Soma-deva in his Sabdarnava-can-_
ma
drika or Laghu-vrtti composed in 1205. The commentator
e
PREFACE. iii
was a contemporary of Silhara king, Bhoja IT, and an
inhabitant of Ajren in Kolhapore State. But Prof. Pathaka
says the longer version is the more ancient one. Abhaya-
nandi’s date is probably 750 A.D. So the shorter version
had an early and claborate commentary than the longer
one. The arrangement of stitras in the two versions is
widely different and they differ even in nomenclature.
There is a recast of the Jinendra-vyakarana entitled
Paneca-vastu. It follows the shorter version.
Lhe Jinendra-vyakarana has a poor history. It never
had many followers, and at the present days. it has a few.
‘hese come from Indore and Beware.
Jinendra-vyakarana seems to be very fond of mono-syl-
Mono-syllabic nomenclae labic nomenclature; for Prathama he
ture.
has Va; for Dvitiya—Ip; Trtiya—Ka,
Caturthi i Ap Virddhi Sed Aip
Pancami 23 Bha Guna ae Ep
Sasthi - La Pragrhya 2% Di
Saptami . Ip Samkhya “3 Syi
Samasa Tr Sa santa, Nanta
Dvandva ¥ Dvandva Datyanta It
Avyayibhava .. Ha Samkhya
Tatpurusa .. Sa Sarvanama .. Sri?
Vahu-vrihi.. Va Pratyaya is Tya
ISarmadharaya Ya Anunasika .. N
Dvigu i Ra Niranunasika,. . Na
Upasarea Gi Pratipadika .. Mrt
Gati =F lB Akarmaka ;
Hrasva a Pra’ > Dhatu t ns a
Dirgha 7 Di Guru ine Ru
Pluta ‘fe Pa Nipata se Ni
1 Perhaps ‘‘ hra”’ which in Brahmi form may be mistaken for * pra.”’
2 In the shorter recension this does not occur; the Safijaé is Sarva-nama.
liv | PREFACE.
The list may be drawn to any length: Jinendra seems
to be the predecessor of Vopa-deva in this matter. |
Sakatayana was a predecessor of Panini and he held
views diametrically opposite to that of
Panini in the matter of Unadi. He is
often referred to in the Maha-bhasya, which gives some
legends about his hfe, too.
Sakatayana School.
A Sakatayana-vyakarana was printed in Madras, in
which Sakatayana is described as Sruta-kevali-desiacarya.
Sruta-kevalis are the direct disciples of irthamkaras.
They became Kevalis or absolutely emancipated by hearing
the doctrines directly, from a Tirthamkara. Sakat ayana
was a Sruta-kevali-desiya or little less than a Sruta-kevali.
So Sakatayana must have been a generation or two youn-
ger than the founder of the reigion. In my Megadhan
Literature (Pages 29 and 30), I have tried to prove that
Sakatayana was a Sruta-kevali-destya not to the last Tir-
thamkara, Vardhamana, but to his predecessor, Parsva-
natha. JI have also shown there, that the quotations in
Panini from Sakatayana are to be found in the Sakatayana’s |
work published from Madras. Even Burnell, who tries
to show it to be a forgery, and a clumsy forgery too, is —
constrained to admit ‘‘ These coincidences prove that our
existing treatise is based on the original work.”’
TY think that, as in the Aindra school, the existing
treatise is much later than the founder of the school. The
Sakatayana grammar may be much later than Sakatay-
4na the founder of the school, though in this case the later
work goes in his name. The commentary Amogha-vrtti
was written in the reign of Amogha-varsa the famous |
Rastra-kita King (A.D. 870-877).
PREFACE. lv
If Sakatayana had been so late as the 9th century,
Vopadeva would not have given hima place among the
ancients. Vopacdeva does not regard Hema-candra or
Kramadisvara as ancient.
“The Sakatayana SabdanuSaSana consists of 4 Adhya-
yas of + Padas each, the total number of sutras being 3200”
(See Belval. p. 70).
The arrangement of topics is practical as opposed to
scientific. Like Jinendra, he does not treat of the Vaidika
erammar and its phonetics. He has only 13 Siva-sitras
and not 14 like Panini.
As this is a distinct school it has (1) Paribhasa-sittras,
(2) Gana-patha in 16 Padas (3) Dhatu
patha, (4) Unadi-sttras in 4 padas, (5)
Linganusasana in 70 Aryas. Belvalkar
says, of these none is older than the corresponding Paniniya
treatise. This is rather bold. Belvalkar does not admit
that the Unadi-sutras of the Panini school are not by
Panini but by Sakatayana; so the Unadi-siitras of the
Madras Sakatayana have nothing to do with Panini.
Accessories of Sakata-
yana’s Grammar.
Beside Amongha-vrtti there is another commentary
named Cintamani by Yasovarma, which has many sub-
commentaries such as Mani-prakasika by Ajita-senacarya.
Cintamani-pratipada by Munga-rasa and a Tippani by
Samanta-bhadra. It has many recasts too. One is Pra-
kriya-sameraha by Abhaya-candracarya who flourished
about 13800 A.D.
Another recast of Sakatayana is the Rupa-siddhi by
Daya-pala in the beginning of the 11th century.
lvi PREFACE.
Sakatayana was current among the Svetanbara
Jainas. It met with a powerful rival in Hema-candras”
Sabdanugasana in Northern India and so it hid itself in
obscure libraries of Southern India.
I have said before that Sakatayvana belonged to ParSva-_
nitha sect and Jinendra to the Varddhmana sect. The
followers of ParS8va wore a white garment and those of-
Varddhamana wore none, From sixth to the second B.C.
the two sects pulled together somehow. But in the latter
century there was a split and they resumed there old
garments. ‘The fact that the grammar of Sakatayvana was _
regarded as authoritative by the Svetambara and shows |
that he belonged to the older times and older sect. 4
Vopa-deva, at the end of the 13th century, calls eight
of the schools of grammar as ancient,
Sema cendre bool of “but Hema-candra achool ig not
Grammar.
cluded among these eight, though
Hema-candra school is furnished with all the acceggoy; ies of
a grammar school. If, Vopa-deva knew that Sakatayana ij is”
not more ancient than Amohgna-vrtti, he would not have
included it among the ancients. |
in-
Hema-candra was born in 1088 A.D. at a place called
Dhunduka near Ahmedabad. His parents were Banias.
His mother saw in a dream that her son would be a oreat
man. When Hema-candra was of five years, in age, Deva-
candra a Jaina monk asked his mother to make over the
child to him, so that he might initiate the boy into a
religious life. He studied for twelve years, after which he
was made Hema-candra-acarya or Hema-candra Suri.
Shortly after he was made the head of a Gaccha at Ana-_
hila-pattan, then ruled by Siddha-raja J aya-Simha, a power-
PREFACE. lwil
ful IKking and a patron of learning. Hema-candra often
had discussions in the matter of religion with the King
who was a devoted Sivait. But after the death of
Jaya-sinha, his successor Kumara-pala became a disciple of
Hema-candra. The Jainas were favoured by the King and
other religions were persecuted. There is a couplet
amongst the Vaisnavas about this time;
waa alas uta: cfs auy|eR Wat |
ataq afd ASRS Git yas wat |
This shows that Vaisnavism was stamped out from
Gujerat. Puranas are also very bitter against Kumara-
pala’s administration, which confiscated the property of
the Brahmanas. ‘The conversion of the king into Jainism
was represented in a drama, entitled Maha-raja-para-jaya,
by a minister to Kumarapala’s successor.
The Sabdanusasana was written by Hema-candra at
the request of Siddha-raja Jaya-simha. The work is
called Siddha-Hema-candrabhidhana - Svopajna - Sabdanu-
sasana. It joins the name of Siddha-raja Jaya-simha
with that of Hema-candra and declares itself to be
Svopajiia or original and not borrowed. It is original
in this sense that the grammar of the Prakrta languages
was, perhaps included in a Sanskrit grammar. In other
matters, too, in Pratyahara, in technical terms, etc. he
shows originality. Hema-candra’s work was something
like an imperial encyclopedia of grammar in which all
preceding works on grammar available were consulted
and collated. Naturally enough as a Jaina and as a Sveta-
mvara, he has drawn much on Sakatayna’s Sabdanu-
gasana and the Amogha-vrtti. This he has done not so
much in his sttra-patha, but in the commentary made by
himself called the Vrhat-vrtti, which is an encyclopedic
lvl PREFACE
work. In fact the accessories of this schoo] of grammar,
are, as a rule, parts of the Vrhat-vrtti.
Hema-candra’s grammar is divided into eight Adhya-
yas of four padas each. The first six padas are called
prathama-sat-pada ; the next four padas are called madya-_
ma-pada and the two together DaSa-padi (See catal. No.
4503).
Hema-candra abridged his Vrhat-vrtti into what is
called the Laghu-vrtti. Our No. 4504, 4505, and 4506 deal _
with the Sanskrit portion of the work. The next six
numbers 4507-12 deal with the Prakrta portion, that is, the
7th and the 8th chapters. In two of these, 4508 and 4511, is
given a short history of the Chalukyas of Gujerat from
Mila-raja to Siddha-raja Jaya-simha. It is said that
Jaya-simha was very much troubled, with numerous
srammatical works, without the study of which a complete
knowledge of it, could not be obtained and so he ordered
Hema-candra to write the work. Belvalkar is perhaps not
very happy in saying that, the Laghu-vrtti relates to the
first seven chapters only of Hema-candra’s erammar.
Svopajna-dhatu-parayanam, No. 4513, gives all rootdl
used in Hema-candra’s erammar, with
their meanings. The work is by the
author himself. It has a commen-_
tary by Harsa-kirti-stri entitled Svopajna-dhatu-patha-
vivaranam. This commentator was much honoured by _
Mala-deva of Jodhpore in the middle of the 16th century.
His guru obtained from Akbar the village of Ksouma. —
The previous gurus of his gaccha, called the Naga-puriya
were honoured by Hambira, Raja of Mewar, Alla-ud-din
Khilizi, Feroj Shah and others.
Accessories to Hema-
candra’s grammar.
PREFACE. lix
The accessory, Linganu-sasana, is represented in this
catalogue by 4515 entitled Svopajna-linganusasana-viva-
ranam by Hema-candra and a sub-commentary, Durga-
pada-prabodha, by Sri-vallabha. The sub-commentary, was
composed at Jodhpore in 1605. Hema-candra’s Linganu-
sasana is a metrical treatise based on Sakata&iyana’s work
and divided into eight sections.
Guna-ratna, a Jaina monk, wrote. at the request ot
his guru, Deva-sundara, a work entitled Kriya-ratna-sam-
uccaya, No. 4517, in which he gives the conjugation of
important roots in Hema-candra’s grammar.
For other accessories such as the Unadi-stitras, Gana-
patha, Pari-bhasa etc., see Belvalkar, page 77. He thinks,
«For the most part these treatises are embodied in Hema-
candra’s Vrhad-vrtti, from which they seem to have been
subsequently extracted and published in separate forms.
The Vrhad-vrtti has a commentary entitled Vrhad-
had | virtti-dhundhika. Some ascribe it to
Ps ate Hema-candra himself but the colo-
phons of MSS. ascribe it to Dhana-
candra, Nanda-sundara and Jina-sigara. The Dbundhika
on the Prakrta chapters, is the work of Udaya-saubhagya of
the Laghu-tapa-gaccha written in 1533 A.D. Udaya-candra
and his pupil Devendra-stri have also written a Nyasa on the
Vrhad-vrtti. The gtru’s work was comprehensive while
his pupil’s work is rather an abridgment. But the
comprehensive work has not yet been found.
Sabda-maharnava-nyasa is an anonymous commen-
tary on the Vrhad-vrtti (see Belval., page 12).
lx PREFACE.
The 17th century saw many digests on Hema-candra’s”
work, In 1652 A.D., Vinaya-vijaya-
gani wrote a manual called Haima-
laghu-prakriyaé. He wrote a commentary on his own
work, twenty-five years later. In 1669, another manual
was written entitled Haima-Kaumudi by Megha-vijayva. —
This work is said to be the model of Siddhanta-Kaumudi. ~
But, that is impossible, because Bhattoji-diksita, the —
author of Siddhanta-Kaumudi, flourished in the latter half :
of the 16th century. He was the pupil of Sam kara-Bhatta,
who died in the early years of the 17th century and the
commentator of Varanasi-darpana in 1642 declares that he
received his knowledge of Sanskirt grammar from Bhat toji
and his son Ramasrama.
Manuals.
Lhe roots of this school of grammar were alphabeti-
cally arranged by Punya-sundara-cani.
The Linganusasana of Hema-candra,
| was commented upon by Sri-Vallabha
Vacanacarya, in 1605 A.D. at Jodhpore. The Pari-bhasas
to the number of 140, were put together by Hema-hamsa-
vijaya-gani who also wrote a commentary on them in 1457
at Ahmedabad. Works on conjugation and declension —
according to Hema-candra’s grammar were written so far
back as the 15th and 14th centuries.
Commentaries on the
accessories.
The small community of Jainas had three schools of
srammar, Jinendra, Sakatayana and Hema-candra, and so
their circulation was limited. But still there was another
grammar written by a contemporary and co-religionist of
Hema-candra. This was Malaya-giri, who wrote a Sabdanu-
sasana with a commentary.
The Samksipta-sara had four
stages of development before it became
a complete school :—
The Samksipta-sara
School,
PREFACE. Ixi
I, The stitras of Kramadi&vara.
If. The commentary called Rasavati.
III. Its revision by Jumara Nandi.
[V. Goyi-candra’s Vivarana commentary.
Kramadisvara has a high sounding title, Vadindra-
cakra-cudamani or the ‘crest jewel of the circle of contro-
versialists.” The title of Vadindra or Vadirat was very
common from tenth to the thirteenth century. The
Buddhist Mafija-8ri had a title Vadirat. Belvalkar says
that Jaya Simha II, the Chalukya emperor, had a title
Vadirat. In the 13th century Ananda-giri, the commenta-
tor of Samkara-bhasya was a Vadindra. WKramadi§svara
eot this title from the Saivas. He wrote the sitras. But
Krt-8esa unadi-pada does not seem to be his work. It
seems to be the work of either the author of the Vrtti
or of Jumara Nandi, the revisor of it. The sutras of the
appendix of the taddhita section are by Goyi-candra.
Kramadisvara in the Sanskrit portion of his work follows
the arrangement of grammatical subjects by Bhartr-hari,
who divides his work Vakya-padiya in three kandas. The
Brahma-kanda which treats of articulate sound, and philoso-
phy connected with it. The Vakya-kanda, the essence of
which is verbs, and the Pada-kanda which treats of nouns.
These three kandas have been split up, by Kramadi8vara
into seven padas, (1) Brahma-kanda=Sandhi-pada, (2)
Vakya-kanda=verbs, verbal nouns and other nouns, (3)
Pada-kanda=syntax, declensions and compound words.
He does not follow the arrangement of the Astadhyayi,
for in that arrangement Sandhi comes last of all.
in seven only of his siitras, he mentions his prede-
cessors, Katantra and Candra. Once he quotes Bhaga-
vrtti, Karaka-pada, 101, and once again Anu-pada-kara=
Sandhi-pada, 224.
\xii PREFACE. 4
Kramadiavara evidently wrote his work in the interest 7
of the Saivas of Central India. His name shows that
he was a Saiva and his invocation shows that he was a
Saiva. Saivas at this period used the Prakrtas and vernacu-_
lars in their propaganda work. The Bengal Saivas of
Candra-dvipa wrote in the vernacular, traces of which Are
to be found in later Buddhist works. and the Ikasmira-
Saiva works are almost invariably accompanied with some
verses in vernacular at the end of each chapter. Irama-
disvara, therefore, found it necessary to give some grammar
of the Prakrtas and the vernaculars. But, as will be stated |
later on, wicked people dropped it, and so, the eighth pada |
of his work, has neither the vrtti of Juuiara Nandi nor-
the commentary by Goyi-candra. The only commentary
on this section is by Narayana Nyaya-pancanana. In-
including a section for the Prakritas and excluding the
Vaidika grammar he seems to be the inspirer of Hema-
candra, who boasts that, the whole of his work is original
or “‘Svopajiia.”’
At the present moment there is no means of dis-
tinguishing between — the Rasa-vati
vrtti and its revision by Jumara Nandi, |
But, the revised vrtti shows wide acquaintance with
Sanskrit literature, its lexicons andits grammar. ali-dasa,
Magha, Bharavi are of course there, Murari is there. The
works entitled Janaki-haranam, Sapta-kumarika and Panca-_
tantra are there. This isin Kavya literature. Of lexicons,
he quotes from Amayra-kosa, Tri-kanda and Utpala-mala.
In grammar it quotes from Jayaditya, Vamana, Nyasa, Anu-
nyasa, Raksita, Bhaga-vrtti, Dhatu-parayana and Bhatta-
vartika, he also quotes kajjata a corruption of Kaiyyata.
But, Jumara Nandi does not explain the sttras, he only
gives examples and criticises the grammatical and non-.
The Vrtti and its revision.
PREFACE. Ixili
srammatical expressions in Sanskrit hterature. He seems
to be very much concerned with the opinions of two
previous writers Babhata and PaSupati, perhaps, his prede-
cessors in the Samksipta-sara school. ‘Their names are not
found anywhere else.
As regards the age of the school, Colebrooke wants to
place it after Vopa-deva in the 13th
century. But, this theory is not
tenable. Vopa-deva in his chapter on
nominal roots, in the Satra, *& #Harens fr’! gives the
example
Age of Jumara’s revised
commentary.
atfseq as the correct form, and then says * aNaseaR ” |
that is, he does not agree with the form RYHET , but in
the vrtti commentary of Samksipta-sara, Tinanta-pada
sitra No. 299, the commentary says “ Hs Breqraata Sisaseq “
as the correct form. This shows that Vopa-deva is
posterior to the vrtti, and therefore much later than the
sutra.
One may think that Kramadisvara imitated Hema-
candra in rejecting the Vaidika grammar and phonetics of
Panini and including the Prakrtas at the end of the
orammar. That seems to be very doubtful. Vopa-deva
wrote his Mugdha-bodha between 1260 and 1300 A.D.
Hema-candra was born in 1088 A.D. and died in 1172 A.D.
Can all the three early stages of the development of the
Samksipta-sara be compressed within a century ?
Ramavatara Sarma speaks of Utpala-malika as a
lexicon. He gives the name of Utpala-mala quoted by
Jumara Nandi, several times but has nothing to say about it.
Jumara Nandi is called a Maharajadhiraja. In his court,
|lxiv PREFACE.
engaged in his service, were men like Uma-pati Datta whom
he loved to honour. This is the only piece of historical
information that we get from his commentator, Goyi-candra.
Goyi-candra says that, in course of time, the sutras and the
commentary became corrupt for the fault of the scribes,
and so he—Goyi-candra,—undertakes to write a running
commentary on all the sitras and their comments by
Jumara Nandi. :
The upper limit of Goyi-candra’s age is obtained from
the fact that he quotes from Purusot-
tama, whom Sarvananda Vando-
padhyaya quotes in his commentary on Amara-kosa in 1159 ©
A.D. (see Ramavatara-Sarma’s Introduction to Kalpa-dru- |
kosa, p. XXII.)
The age of Goyi-candra.
Goyi-candra is called ‘“ Autthasanika,” that is, one
to whom, when he approaches the court, the king stands up,
and offers a seat. Belvalkar seems to be puzzled at this —
name, and at this custom. The custom still prevails in
Rajputana, but it has lost its Sanskrit name at present. A
noble man, who is honoured by the King in this way, is”
called a Tazimiomrah. Goyi-candra’s commentary is-
known as Tika or Vivarana-tika. (Goyi-candraseems to have
been an expert in Logic, especially to that section of it,
which treats of the relation of words in a sentence. His
commentary on the chapter on Karakas is much apprecia-—
ted in Bengal.
With Goyi-candra ended the original writers on this —
school of grammar. The later writers are almost all —
commentators on Goyi-candra’s Vivarana-tika.
Vyakara-sara-lahari by Kavi-candra is a commentary
on the Sanskrit padas only. A MS. of this copied in —
PREFACE. ikxv
Saka 1636, is our number 4493. Kavi-candra writes this.
commentary in the interests of young people. His main
object is the collection of the original sitras of this school.
But he begins with the Sanskrit alphabet as is current
at present.
Samksipta-sariya-prakrta-paida-tika (4494). In L. No.
1594, Rajendra-lala says, that Goyi-candra did not include
the Prakrta-pada in his elaborate commentary on the Sam-
ksipta-sara, and this is the only commentary and the only
MS. of it on the Prakrta portion of Kramadi§vara which has
come to his notice after many years of search. This was
said in 1878. After its publication, the text of Prakrta-
pada of this school, published in the Bibliotheca Indica, was
withdrawn from circulation, as that text did not agree with
this commentary.
As regards the authorship, Rajendra-iala says, ‘* By
Vidya-vinoda, son of Narayana, grandson of Vanesvara, and
oreat-grandson of Jata-dhara.’? But this does not agree
with the second verse of the work which says that
Narayana Vidya-vinoda was the son of VaneSvara who
was the son of Jata-dhara, who again was the brother of
Chatri. Chatri belonged to the Pirva-graémi clan of the
Radhi-sreni Brahmanas of the Vatsya-gotra. But in the
colophon of 1594 (L.) Vidya-vinoda is said to be the author
of the commentary on the eighth pada. But from the
commentary on other padas we know that Nyaya-pancanana
was the son of Vidya-vinoda and that is perhaps the
correct description of the commentator.
Belvalkar says that the eighth chapter dealing with
Prakrtas is a later addition. This is not true; for an
authoritative commentator like Nyaya-pancanana says that
Kramadisvara wrote the Prakrta-pada but some wicked
ixvi PREFACE.
people dropped it and he restored it with his commentary —
(L. 1594)
afaat aq wd weA afarted STMT |
relat ad AHZA Aa VATA Bar |
The opinion was that the whole school is later than —
Vopa-deva, but it has been shown that
The age of the principa! Vopa-deva does not consider Bisq as a
authors of the Samksipta- * “?
- ‘orrect for )JuUmMAara Wi says
Me ee correct form. But Jumara Nandi says
it is correct, he is therefore earlier than —
the Mugdha-bodha. The commentator of Jumara Nandi, if
he had come after Mugdha-bodha, would have resented his
disapprobation. But he does nothing of the kind, he simply
gives the steps by which the word Basa is formed. So,
the commentator, Goyi-candra, is earlier than Vopa-deva.
This is the lower limit of the age of Goyi-candra. The upper
limit is fixed by the fact that Goyi-candra quotes from the
Bhasa-vrtti and the Tri-kanda-sesa of Purusottama-deva _
who is quoted by Sarvananda, the commentator of the
Amara-kosa in the year 1159 A.D. Purusottama, therefore,
may be placed, at the latest, in the first half of the 12th
century; and Goyi-candra in the second half of the
same century. Goyi-candra says that, in course of time —
many misreadings have crept in Jumara Nandi’s vrtti and
Kramadisvara’s sttras; they are all glaring misreadings
and they number about fifty. So much misreading can-_
not be the work of a day; I would, therefore, venture
to place Jumara Nandi at least one hundred years before
Goyi-candra, that is, in the 2nd half of the Llth century.
If so, Kramadisvara would go earlier than Jumara Nandi,
but later than Bhartr-hari, who died in 650 A.D., and _
whose arrangements he has followed in framing his sutras.
Kramadisvara quotes only two of the ancient schools —
of sutra-karas namely, Katantra, lst century A.D., and
PREFACE. Ixvil
Candra, 5th century A.D. Goyi-candra again shows that
where Panini and these siitra-karas disagree in the for-
mation of any word, KramadisSvara gives the option to
both the forms. He also says that, when the Bhasya of
Panini differs from its vrtti, in some instances, Krama-
disvara gives the option to both forms or in others
supports the Bhasya and rejects the vriti. That shows that
KKramadisvara, according to Goyi-candra, was thoroughly
acquainted with the vrtti of Jayaditya and Vamana, who
came a httle later than Bhartr-hari in the 7th century
A.D. So, IKramadiSvara’s place would be in later centuries
than the seventh. But Goyi-candra also says that Krama-
di8vara was acquainted with the statras of Vamana, that is,
the rhetorician Vamana, who in his work on rhetoric gives
a chapter on the criticism of good and grammatical style,
and his age 1s supposed to be 850 A.D. That settles the
upper limit of Kramadisvara. The 9th and the 10th
centuries were the palmy days of the Saiva cult of the
Pasupatas and others in Central India. ‘Therefore the three
ereat writers of Samksipta-sara would come between 850
and 1200 A.D.
Against this, there is the fact that Jumara Nandi
quotes from Kajjata who is no one else that Katyyata
and Maitreya Raksita. Babu Sriga-candra Cakravarti says
that Kaiyyata flourished in 1050 and Maitreya in 1100 A.D.
Let us examine the grounds of his assertion.
The latest authority quoted by Maitreya is Dharma-
kirti’s Rupavatara which the Babu puts down in the early
part of the eleventh century. But he does not state
his grounds. The editor of the Rtpavatara says it was
written in the 12th century. It is known, however, trom
Rajendra-Cola’s inscriptions that Ruapavatara was used as
Ixviil PREFACE.
a part of the curriculum of the educational institutions of |
that monarch in the first quarter of the eleventh century,
see S. Ind. Epigraphy for 1917-1918 pages 30 and 145, —
App. B. It was only old and well-known works that were
included in the curriculum. So Riapavatara was then-
regarded as old. It could not be a new work belonging to-
the early eleventh century: it must go earlier.
The date of Maitreya Raksita has been put down by
Srisa Babu at 1100 A.D., the latest works Maitreya quotes
are Rapavatara and Bhasya-tika, which Srisa Babu takes
as Bhasya-pradipa, on what ground Ido not know. Maitreya
may go a century earlier if he quotes Rupavatara. But the
Babu says that Bhasya-pradipa by Kaiyyata was written
about 1050 A.D., because Bhima-sena, a late commentator
of Kavya-prakasa, 1729 A.D., says that Mammata, the
author of Kavya-prakasa, Ubata, the commentator of
Yajur-veda and Kaiyyata, all flourished at KaSmira and
were related as brothers. ‘This is absurd, Ubata lived at
Avanti, his father Vajrata lived at Ananda-pura in Gujarat.
So Mammata cannot be the brother of Ubata and cannot
flourish in KasSmira witb him. If the evidence of the
commentator proves untrue in one place, it cannot be
taken as true in another, so the theory that Mammata and_
Kaiyyata are brothers should be given up, and Kaiyyata —
should be placed in the 10th century. In that case Jumara —
may quote both from Kaiyyata and Maitreya.
Goyi-candra does not show any acquaintance with |
) Hema-candra (1088-1172). But Hema- ’
gne rig $e candra wrote at Anahila-patana and
Goyi-candra, most probably in Orissa.
They were most probably contemporaries and did not know —
each other. The activities of the followers of this —
PREFACE. lxix
school after Goyi-candra is confined to western Bengal,
where this school is still flourishing, and the later commen-
tators of Goyi-candra all belong to that part of Bengal.
They commented either on the whole of Goyi-candra’s
work, or on different sections of it, and they commented on
Goyi-candra alone, and not on any of his predecessors.
The most important commentary written in western
Bengal is that by Narayana Nyaya-pafcinana, who wrote a
commentary on all the seven sections of Sanskrit, as well as,
the eighth section on Prakrit not touched by Goyi-candra,
Jumara Nandi and others, though he positively says that
Kramadisvara wrote it. Nyaya-paficanana was a Brahmana
otf the Radhiya denomination, that is, one of those descen-
dants of the five Brahmanas brought to Bengal by Raja Adi-
stra who obtained in later centuries, grants of villages from
which they derived their surname, in western Bengal. The
village obtained by the ancestors of Narayana Nyaya-
pancanana was Purva-grama. His father was VaneSvara
Vidya-vinoda, who was learned in Nyaya, Purana, Kavya,
Alamkara, Vaisesika, Vyaikarana, Sruti, Nataka and Smrti
(I. O. Catal. No. 830). Nyaya-paficinana’s work is called
Vyakara-dipika. Nyaya-paficanana had a student named
VamSi-vadana whose title was Kavi-candra; he was a
worshipper of Rama and the son of Vasistha and Raya-mati.
His work is generally known as Tippani or Vyakaranadarsa,
He says, none but VamSi-vadana can explain properly
Kramadisvara and Paficanana (I.0. Catal. 823-829).
Another commentator of Goyi-candra is KeSava-deva
Tarka-pancanana Bhattacairya, whose work is named
Durghatodghata or removal of difficulties, his object being
to remove the misinterpretations on Goyi-candra. His
commentary, so far obtained, relates to the Sanskrit portion
of the work only.
.
lxx PREFACE. |
:
Another commentary on Goyi-candra is called
Kaumudi by Abhi-rama Vidyalamkara who describes him-
self as Vandya-ghatiya or Banerji settled at Gaya- -ghara.
The Banerjis so settled were regarded as the highest nobility
in Bengal (1.0. Catal. 830-832). a
Another commentary on Goyi-candra is jointly by | ,
Candra-Sekhara Vidyalamkara and Hari-rama Vacaspati,
entitled Artha-bodhani (I. O. 833).
Another Banerji of Gaya-ghara whose name does not:
appear in the work, but whose title was Sarva-vidyalam-_
kara Bhattacaryya, wrote a commentary on Goyt- candra, —
called, simply Tika (H.P.R., Vol. 1, No. 56).
Another Banerji of Gaya-ghara named Gopala Cakra-
varti, a disciple of VamSi-vadana wrote a commentary _
entitled Sarartha-dipika, on Goyi-candra. Though called a_
Cakra-varti he was really a Banerji (H.P.R., Vol. ITI, 32 |
and 322). |
4
Another commentary on Samksipta-sara entitled —
Bhavartha-dipika is by MaheSa Paficanana, son of Vidyar-
nava (H.P.R., Vol., II, 231). .
Even this Samksipta-sara or abstract grammar has a
Sara-samgraha by Pitambara Sarma. That Sara-samgraha
again has a tika, entitled Sandarbha. The author describes
himself as the son of Khullana, and writes a poem in-
9 cantos on the story of the Ramayana, entitled Ramayana-_
chatra-vyutpatti. The poem was written in imitation to
Bhatti in order to teach grammar to students (I. O. 846
fT and II, and 847).
This school of grammar is rather rich in its treatises on _
xoots. The most important of which is (1) Dhatu-mala
by Jumara Nandi, who says in the preamble, that roots
~~
PREFACE. Ixxi
came out from the mouth of Maha-deva;: but in course of
time, they became corrupted and the author simply tries
to purify them (H.P.R., Vol. I, 196).
(2) The next, Dhatu-mala, is by MaheSa. It gives the
roots and their meanings, and at the same time their
paradigm, but very briefly (H.P.R., Vol. I, 197).
(3) Rtiipa-prakasa by Kulltika-bhatta who should be
differentiated from his namesake the great commentator
of Manu, whose residence was at Nandana-vasi and who
settled at Benares. Our Kullika was jan inhabitant of
Visala. He gives the paradigm of many roots beginning
with Kala (H.P.R., Vol. I, 324). Kullaka follows Dhatu-
pradipa by Maitreya.
(4) Dhatu-ratnavali by Radha-krsna Sarma was com-
posed in 1764 A.D. The author’s father was Sri-hari Smarta,
erandiather Sita-rama Vidya-nivasa and great-grandfather
Kama-deva Bhattacaryya. The author has collected the
materials of his book from Dhatu-pradipa, Gana-stitra, and
Manorama of the Katantra school (1.0. 840). Eggeling
says “ The author who seems to belong to the Jumara school,
professes to have made use chiefly of Maitreya Raksita’s
and Rama-natha’s works.”
(5) Vasu-dhatu-karika is perhaps by one who was
surnamed Vasu. It has seventeen mnemonic verses with
a commentary. It gives the roots taking Atmane-pada and
Ubhaya-pada (1.0. 841-842).
(6) Daga-vala-karika is by one DaSa-vala consisting of
31 mnemonic verses. It aims at giving a register of al]
roots of the same form in different groups of conjugation,
{xxl PREFACE.
(1) Asin Panini so in this school, the stitras often con=
Ganas or words taking tain only initial words with adi added.
the same grarmmatical to denote w ords taking the same termi-
poe nator: nation. The most important work on
ganas of this school is by Narayana Nyava-pancanana en-
titled Gana-prakaga (I. O. 838). At the end of the work, —
Nyaya-paficanana boasts that there is only one Pandita
in the whole of the world and there is no other Pandita to
explain Jumara, Amara and Bhatti. on all of which he has
written commentaries. y
(2) Gana-martanda, a commentary on the Dhatu-
patha of the Samksipta-saira school is by Nr-simha Tarka-
paficanana. Whatever the merits of his commentary may
be, he seems to be very anxious to flourish his genealogy
the work. He has given a number of verses in describing
his ancestors for eleven generations. The genealogy starts
from Candi-dasa, a Mukherji, the commentator of Kavya
prakasa. He had many sons of whom Gopi-natha was one;
Gopi-natha had many sons of whom Madhava was one};
Madhava had many sons of whom Nayana was one;
Nayana had many sons of whom Kumuda was one;
Kumuda had two sons of whom Sri-hari was one; Sri-hati
had two sons of whom Syama Vidya-vagi8a was one. Syama
had many sons of whom Gopala Sarva-bhauma was one;
Gopala had three sons of whom Kusala Tarka-bhtsana was
one; and his son was the author Nr-simha Tarka-pancanana,
an inhabitant of Ketu-grima, four miles to the west of
Uddharana-pura on the Ganges (I. O. Catal. 839). The
author gives the genealogical details especially of marriage
of all his ancestors and himself. He says that Candi-dasa
with whom the genealogy commences was a Vanga-meli,
that is, that endogamous sroup of Radhiya Brahmanas
which was named Vanga-meli. These groups were settled at
PREFACE. lxwxill
a great assembly near Kalna, in the year 1482 a.p. Eleven
generations after that came the author, so he must have
belonged to the 18th century at the latest.
Of other accessories of this school there is a short
treatise on Jnapakavali or a group of indicatory sitras
supposed to be contained in the Samksipta-sara by Hara-
govinda Vacaspati (I. O. 837).
Two accessory treatises, one on Unadi, to which the
indeclinables are added (Vide I. O. 834) and the other an
appendix on the taddhita section, (I. O. Catal. No. 835 and
836) have been included in the Caleutta edition published
by Veni-madhava Cakra-varti, at the end of krt and
taddhita. Their authorship is a matter of difficulty to
determine. The appendix with its commentary is by Goyi-
candra who in the preamble says—
qarretufiatfeanrg ufefieate atatya |
cara FRI wil ay GRIT TAT |
Some has interpreted this verse to mean that Jumara
Nandi wrote a part of the Parisista and Goyi-candra com-
pleted it with a commentary. Others again interpret it
that Jumara Nandi did not write the PariSista at all and
the fifth case ending of uma will bear both the interpreta-
tions. The colophons are rather confused. In the case of
Unadi and of the indeclinables, Jumara Nandi wrote both
the sutras and the vrtti.
There are in the Samksiptasara— sutras.
Sandhi-pada “ti Pail
Tinanta-pada me ~~ pe
Krdanta-pada ae .. 942
Taddhita-pada . fase 901
Karaka-pada ie shine UMA UF
Subanta-pada . wen 408
Samasa-pada Es tet. BOT
Total S.> 3 pod
lxxl1v PREFACE.
This is very nearly the number of stitras in Panini,
including the Vedic grammar and phonetics. Belvalkar is
in one sense, right in calling the name Samksipta-sara
a misnomer. But I would rather imterpret the word in
a different way. I would call it an abridgement of the
entire grammatical literature previous to Wramadisvara,
for he has utilised the materials afforded by all the different —
schools before him.
If again on the 3857 sttras are added the siitras on
Unadi, indeclinables and taddhita-parisista, their number
will come up to 4697, a moderately large number,
Vara-ruci’s name is connected with the SCclence of sram-
mar from the earliest times. Katya
yana is said to be another naime of Vari
ruci. The Unadi-sttras are attributed by some to Vara-
ruci. Other works also are often sucha jae to Vay |
In this catalogue there are three MSS. attributed t
and in order to bring the hitherto shadowy figur
ruci into a solid basis, I have grouped them unde
V araruca School.
Q-rucl.
0 him,
© of Vara-
Y a school.
The first work is Prayoga-viveka a practica] re
in twenty-six Karikas and three patalas ; the first eit; en
the second on conjugations and the formation Pe
nouns, and the third on samasa and taddhita. The wont
has been published in the Trivendrum Sanskrit Series under
the name of Vara-ruca-Samgraha, The editor thinks ~
that Vara-ruci was one of the ‘Nine gems’ of the Court of
Vikramaditya, and the printed work is accompanied with
Narayana’s commentary, entitled Dipa-prabha. Our Cata-.
logue, No. 4406, contains an anonymous commentary
entitled Prayoga-viveka. The text deals with the general
principles of the relation of words in a sentence and the
commentary expatiates upon them.
PREFACE. Ixxv
Our 4407, has another anonymous commentary entitled
Sambandha-siddhi. :
Our 4408 and 4409 are MSS. of the same work, here
called Prayoga-mukha. The work declares that there are
five Patalas, namely Karaka, Samasa, Taddhita, Tin-patala
and Krt-patala. There is no contradiction involved with
4406, which says that the work is divided in three patalas
and this in five patalas, because in the former, one patala
includes two subjects in the last two patalas.
Our 4410 is also an anonymous commentary on the
same IKarikas.
Vara-ruci’s Karikas seem to have been very popular
and every locality had a commentary on them. The tew
MSS. given here are written in Newari, Maithila, and Deva-
nagari characters.
The object of my bringing these MSS. together is to indi-
cate that Vara-ruci wrote a grammar and after finishing it, he
wrote these twenty-six Karikas in the same way as Bharttr-
hari after finishing his commentary on the Maha-bhasya,
wrote his Vakya-padiya or as Bhattoji-diksita wrote his
seventy-one Karikas after finishing his Sabda-Kaustubha.
But this is only an inference, and this inference is made
plausible because different grammarians attribute different
sections of grammar to Vara-ruci.
Cangu-dasa was a Kayastha and he was a Bauddha. He
commences his work with an obeisance
to Sugata and to Mafiju-sri. His Kari-
kas are entitled Vaiyakarana-jivatu. The number of Kari-
kas is sixty. They deal with the Paribhasas and the philo-
Cangu-school.
lxxvi PREFACE.
sophy of grammar. This is often called Cangu-vrtti and
even Cangu-sitra. The commentator on these siitras in 4414
(Copied in Purusottama Ksetra by Vaisnava Raghu-dasa)
Says, ““why has Cangu-dasa made his obeisance to Sugata,
leaving aside (the real) God Visnu’’ ? The fact is that every
one makes obeisance to his /sta-devata just as Pitramkuru |
says, “‘I make obeisance to Buddha. AI] Brahmanas are
followers of Visnu, all Kayathas are followers of sugata, all —
merchants are the followers of the Sun, Sudras and others
follow Siva.”” Onthe authority of Tri-kanda-sesa, a lexicon
by a Buddhist, the commentator says that Mafju-sri is —
Sugata. He also says that, the Paramita is measured in
16000 slokas of 32 syllables each. Cangu-dasa says that_
Mafju-sri suppressed four enemies called Maras and the
commentator explains the four Maras as Deva-mara, Raja-_
mara, Vraja-mara and Manusya-mara. The anonymous
commentary is entitled Satranvarthini. |
Our Catalogue No. 4415 makes the text 57 verses. This —
is a MS. copied at Kasi, near the Laksmi Kunda by Rama- —
candra Puri,a Sannyasi. But he omits the three Buddhist —
Mangalacarana verses. The commentary on the 56th
Karika, gives us the following information. ‘‘ Candropaj- —
nam Sasaka-vyakaranam, Vedopakramam dharmah”’ mean-
ing that the Sasaka Vyakarana was first spoken and written —
by Candra and Dharma or law issued for the first time from |
veda. The Cangu-Karikas are divided into 6 udde§as, as_
Vara-ruca Karikas are divided into 5 patalas,—Samanya, —
Tyadi, Krt, Karaka, Samasa and Taddhita. As in the case
of Vara-ruca-Karikas, the Cangu Karikas also indicate
some grammatical work preceeding it by the same author. —
Cangu satras are still studied in Orissa, curiously enough,
along with Rama-candra’s Prakriya Kaumudi which is a
re cast of Panini. |
PREFACE. Ixxvul
The Sarasvata school is based upon 700 sttras of the
simplest kind, said to have been
revealed by the ‘ goddess of Learning’
to some unknown author. The stitras were meant for the
purpose of learning the Sanskrit language for ordinary
purposes. The Katantra was originally written for the
same purpose, for agriculturists, traders, physicians, recitors
of the Vedas and others, who simply wanted to read ordinary
books in Sanskrit. But in course of time, the Katantra
with its commentaries, sub-commentaries, accessories, Sup-
plements and further supplements, became a vast literature
by itself, and ceased to fulfil the purpose for which it was
originally meant, and a need arose for a simple Sanskrit
srammar and that was supplied by the Sarasvata stitras.
The Saérasvata School.
The origin of both these grammars is lost in obscurity.
One is attributed to Kumara and the
other to Sarasvati herself. Ikatantra
took the alphabet as it is, but Sarasvata
accepted the Siva-stitras without ‘‘Its’? and in that matter,
it is closely allied to Mugdha-bodha. But Mugdha-bodha,
has a system of mono-syliabic nomenclature and devotes
many stitras to the explanation of that nomenclature.
but Sarasvata avoided these definitions by using ordinary
names for them current amongst grammarians. It does
not belong to any ancient school and may be very modern.
The stttras were put together either contemporaneously
with Mugdha-bodha or after it.
Tradition about its
origin.
In the early years of the Muhammadan conquest it had
a wide circulation. It was patronised
by some Muhammadan rulers and
many Indian princes. It was current all over India and
not confined to any part of it. It was, of course, ousted
Its diffusion.
Ixxvlll PREFACE.
by the recasts of Panini and specially by the Siddhanta-_
kaumudi and its abridgement, the Laghu-kaumudi, from
the greater part of Northern India.” But still it has a res-
pectable following as the Calcutta Sanskrit Association had — :
to start an examination for this school. How w idely a
diffused its circulation is, even now, may be gathered from —
the fact, that it is still studied in the schools of Nepal, and
about fifty years ago, Dhanafijava Thakur, the prime-
minister of Tipperah, published an edition at his own
expense. The candidates for the examination in Sarasvata,
under the Calcutta Sanskrit Association, come from Bihar,
Benares, Malwa, Nagpore and other parts of Northern —
India; and two or three centuries ago commentaries were —
written at such distant places as Vidya-nagara, Andhra
and Varendra countries
It has many commentaries and sub-comimentaries
but few accessories and no supple-
a ale ments. Of the commentaries, two
stand foremost, one called Sarasvata-
prakriya and the other Sarasvata-candrika ; both are by
Sannyasis. The first by Anubhiiti-svarapacarya and the
second by Rama-candrasgrama. The Sannyasis seem to have
patronized this short work in order to have a working
knowledge of Sanskrit tor the purpose of reading their
sectarian and ritualistic works. Of these two commentators.
the personal history is absolutely unknown beyond the fact I
that they were Sannyasis. Their date also is unknown.
From obscurity and vague tradition we emerge into —
solid history with Pufija-raja, a Sri-—
mali Brahmana, who hailed from Sri- ‘
mala now called Bhinmala in Marwar, —
the home of the Srimali Brahmanas. The poet Magha was |
Sub-commentary by
Pufija-raja.
PREFACE. Ixxix
an early representative of this denomination of Brahmanas.
Punja-raja was a minister of Giasuddin Ihiliji of Malwa,
who in his old age was poisoned by his son Nasiruddin.
Punja-raja was a good administrator. Besides this com-
mentary, he wrote two works on rhetoric. He gives us the
information that, the sitras cannot be new, because, his
Guru Nagendra Puri said that Sarasvati revealed the sttras
to Anubhtti.
Both Hindu and Jaina Sannyasis wrote sub-commen-
taries on Saérasvata. Of these Candra-
kirti, the Jaina commentator, Was
patronised by Salim Shah, the son of
Sher Shah of Delhi. He belonged to the Vrhad-gaccha of
Nagpore. The Hindu Sannyasi, who wrote another sub-
commentary is Amrta-bharati. He wrote his Subodhini at
Purusottama-ksetra. He attributed the Sarasvata sutras
to one Narendra, and in this attribution he is supported by
Ksemendra, another sub-commentator, who is criticised by
-Jagamatha the author of Sara-pradipika and severely by
Bhatta-Dhanesvara. The latter has named his commentary
as Ksemendra-tippana-khandana. Belvalkara has given
a long list of commentators of the Sarasvata-prakriya In
pages 96-102.
Sannyasi sub-commen-
taries.
The other commentator as I have stated before, is
Ramacandrasrama. His work is com-
mented upon by Lokesa-kara, the son
of Ksemankara and the grandson of Rama-kara. He hailed
from Vidya-nagara, and wrote his commentary entitled
Tatva-dipika in 1683.
The Sarasvata-Candrika.
A third independent commentary on the Sarasvata
srammar was written in 1614 or 1612 in the reign of
lxxx PREFACE.
Jehangir by Tarka-tilaka Bhattaciaryya who points out —
_many interpolations in Anubhiti-svartipa’s work. Raghu-
natha, a pupil of Bhattoji-diksita, a Nagara-Brahmana —
wrote a commentary entitled Laghu-bhasya in imitation
of the Maha-bhasya. +
Of the accessories of the Sarasvata there is a Dhatu- —
patha by Harsa-kirti, the pupil of
Candra-kirti about 1560 A.D. Though —
barasvata is the smallest of grammars yet there are abridge- j
ments of it. (1) Laghu-siddhanta-candrika by Rama-_
candrasrama. (2) Laghu-sarasvata by Kalyana-sarasvati. 7
Accessories.
Apart from the tradition that the stitras were revealed
to Anubhiti-svartipa, we see that one Narendra is the author —
of the siitras. He is mentioned as the author in I.O. Cata-
logue 793 where heis called Parama-hamsa-parivrajakacarya. — |
The story of the writing of the sub-commentary, by Sri _
Rama-bhatta of the Andhra country, is very interesting. —
But as Belvalkara has given it in full, I need not repeat it~
here. Govinda caryya’s saravata-bhasya-tika entitled Pada-_
candrika shows that in the 16th century, the study of
Sarasvata school was prevalent in Bengal. It was composed |
in 1599 (H.P.R., Vol. IV, 337).
During early British period Wilkinson studied the
Sarasvata-stitras as an elegant treatise on grammar. <A copy —
of the Sarasvata-grammar was made at Rangpore for the
use of an European Officer there. The first Sanskrit gram-
mar in English was based on the Sarasvata.
The Mugdha-bodha was written in the last days oft
Hindu independence in the Maratha —
country during the reign of Mahadeva, k .
the last but one king of the Yadava —
Mugdha-bodha School of
Grammar.
PREFACE. Ixxxi
dynasty of Devagiri, the name of which was changed into
Daulatabad. by Muhammad ‘Tughlug who wanted to trans-
fer the capital of India from Delhi to it. The King Maha-
deva had a minister, an architect, an engineer, a chief-justice
and a general in one person, named Hemadri, who has written
Cnheyclopedic works on Hindu religious rites. He had a big
Jadygir, and he had a friend named Vopa-deva. The deri-
vation of the name is rather curious, U means Siva and A
means Visnu; Uand A=Va; anda worshipper of these two
deities will be called a Vopa-deva. Similar names are to
be found among the authors of the previous centuries. One
V opalita, the lexicographer, isin point. Vopa-deva was the
son of Kesava who practiced medicine, perhaps he was an
army surgeon. For Vopa-deva often says that his books
were written in the house of his fatherinthe camp. Vopa-
deva was the pupil of DhaneSvara who was a very learned
man, He taught the Vaisesika and the Vedanta darSanas.
Vopa-deva wrote ten works on grammar. (1) Mugdha-
bodha (2) its Dhatu-patha entitled Kavi-kalpa-druma with
about 1754 roots and (3) its commentary, the Kavya-Kama-
dhenu which is much prized for the quotations it gives. Of
the ten, these three are well known.
Vopa-deva is said to have been the author of the
Srimad-bhagavata. But thisis wrong. Vopa-deva wrote a
commentary on the Bhagavata entitled Parama-hamsa-
priya in which he has shown that the Bhagavata contains
at least 1000 archaic expressions not sanctioned by the
erammars of the classical language. (See our Catalogue No.
3681.) He also wrote two works on the Bhagavata (1) Hari-
lila and (2) Mukta-phala. Jn writing these two works he was
inspired by Hemadri. He wrote nine works. on medicine
(one of which was Sata-Sloki) which are still much used by
xxx PREFACE,
Ayurvedic physicians in Rajputana. He wrote a work on
Dharma-sastra and three works on literature. (See our
Catalogue No. 4519.)
The object of writing Mugdha-bodha was economy.
Economy both of syllables and of exertion. ‘The economy of
syllables has been achieved by reducing grammatical no-
menclature into mono-syllables. For hrasva and dirgha of
Panini, he would say sva and rgha; guna and vrddhi he
would reduce to nu and vr; for samasa he would write sa;
instead of writing the big names of samasas he would write
ca, ha, ja, sa, ga, va; prathama, dvitiya, trtiya ctc., he has re-
duced pri, dvi, tri and the numbers are ka, dva, vva; sarva-
nama is Sri, dhatu is dhu, and prati-padika is li: the moods
and tenses he has named, ki, khi, gi, ghi, ti, thi, di, dhi, ti, thi;
taddhit he has reduced into ta; parasmaipada and atimane-
pada into pam and mam. ‘Thus he has reduced all gram-
matical technical terms into algebrical form but the idea
is not originally his; he has got the hint from Jainendra
erammar. Panini has devoted much of his time and
trouble in deriving the 180 conjugational inflections from
18 original ones. But Vopa-deva has given all the 180 as
inflections. How he has saved exertions of pupils may be
seen by the fact, that he has reduced the whole of classi-
cal sanskrit grammar into 1184 stitras. Sometimes a whole
pada or section of Panini has been reduced to one or two
sutras, pretty long ones though.
A time was when Mugdha-bodha was a great favourite
with Sanskritist all over India, but the rise of the Mara-
tha schools of grammar in the 16th century has confined it
to both sides of the Hugly in Bengal. Mugdha-bodha was
used in Bengal even in the 16th century, in which Vidya-
nivasa, the father of the renowned Visva-natha 'Tarka-
ee.
PREFACE. Ixxxili
pancanana, the author of the Bhas&-pariccheda, wrote a
commentary on it, (1) and founded something like a school
with his commentary, for Rama Tarka-vagisa says, in the
preamble of his commentary,
yess urfaataan Aha araraantfaar |
we faartfaatat: wial afaAnaIeAt |
There is a MS. of Smrti-Kalpa-taru copied for Vidya-
nivasa in the year 1588 A.D., by a Kayastha, named,
KKavi-candra, catalogued in the India Office Library. Vidya-
nivasa wrote several works on Smrti and two on pilgrimages
to Jagannatha, the only Tirtha not violated by Muhamma-
dans up to his time. He was several times invited to Delhi
in great assemblages of panditas. Todara-malla and Mana-
simha, Subadars of Bengal, were great admirers of his old
father Vidya-vacaspati, himself and his three sons, Visva-
natha, Rudra and Narayana, all of whom were erudite men.
If a man in the position of Vidya-nivasa takes interest m
the spread of this school of grammar, he is sure to be very
successful, so Mugdhabodha which was composed in the
Maratha country, has taken a deep root on the Hugly. No
MS. of Vidya-nivasa’s commentary has yet been obtained,
but many subsequent commentators have named him or have
quoted from him. This is the first commentary in Bengal.
(2) The next big man in this school is Rama Tarka-
vyagisa, the progenitor of the Ghosala’s of Ariadaha near Cal-
cutta. Babu Girisa Candra Ghosala of Belgharia subse-
quently settled at Naihati. He died in the early years of
the 20th century and was ninth in descent from him. He
may therefore be safely placed in the early years of the 17th
century and is quoted by Durga-dasa in 1639. Sir George
Grierson says that Rama Tarka-vagisa wrote a grammar on
Prakrta language also. But his great work is his commen-
lxxxiv PREFACE.
tary on the Mugdha-bodha, which though a school book at
first, was made to vie Panini by his commentary. He has
reduced a number of Panini’s stitras and the sttras of othe oa
grammars into the algebrical language of Mugdha-bodha
and have included them in his commentary. in order to make:
the work as comprehensive a grammar as possible, He.
also wrote a supplement to the Mugdha-bodha.
(3) The next important Pandita of this school is Durga-
dasa Vidya-vagi8a, who describes himself as the son of
Gango-liya Vasu-deva Sarva-bhauma, who is not to be
confounded with the great Vasu-deva Sarva-bhauma, (a
Banerji) who brought Nyaya-sastra from Mithila and who
died at Puri as a disciple of Caitanya about 1533 A.D., in|
his old age. Durga-dasa wrote a commentary on M ugdhea
bodha entitled Subodha and another on Kavi-Kalpa-dr rama,
both of which are still used by students. Durga-dasa ing
his commentary on the Mugdha-bodha quotes hamananda, '
Kasisvara and Rama Tarka-vagisa. (4) Ramananda’s
commentary is described in 1.0. Catal. 852. Its object is to-
include words derived in the Katantra supplement of Sri-
pati. (5) Devi-dasa Cakra-varti is another commentator,
but we know very little about him. (6) Kasisvara
quoted by Durga-dasa was another commentator of the
Mugdha-bodha and perhaps a writer of a supplementary —
treatise to it. a
The seventh commentary is written by Govinda-rama.
Vidya-Siromani entitled Sabda-dipika. In the preamble —
he makes his obeisance to Ramananda and others. The —
object of his commentary is to refute wrong interpretations ;
and to make it perfect. He quotes Devi-dasa also. |
The eighth, entitled Bala-bodhini, is written by Sri
Vallabha Vidya-vagisa, (he had perhaps another name —
PREFACE. Ixxxv
Bhagiratha) son of Syama-dasa Mukherji and Bhavani.
He quotes from Durga-dasa.
Rama-bhadra Nyayalamkara is the ninth comment-
ator.
The tenth commentary is known as Prabodhamkura
by Vrndavana-candra Tarkalamkara Cakra-varti, son of
Radha-Krsna Kavindra-cakravarti. Though the names
of the father and the son indicate Vaisnava cult, the work
in the beginning invokes Siva. He comes after a long line
of commentators. But, he says, that his object is to make
Mugdha-bodhaeasy. (See Sans. Coll. Catal. Vol. VIII, 167.)
The eleventh commentary is Subodha by Kartikeya
Siddhanta, current in the schools of Nayva-dvipa. After
closing the commentary the author, showing humility as
usual, gives a genealogy beginning with his great grand-
father, a resident of Vaidya-danga. His great grandfather
was Caitanya Sarma, his’ grandfather Rama-deva, and his
father Dhira-mana. The object of his work is to give quick
proficiency to students and he follows the old tradition.
He quotes Durga-daisa, Rama Tarka-vagiga, Kasisvara,
Vacaspati, and Kama-dhenu. (Our Catalogue No. 4530.)
The twelfth commentary is by Ganga-dhara Tarka-
vagisa, son of Siva-prasada Tarka-paficanana of Kumara-
hatta or Halisahar, 28 miles north of Calcutta, on the
Ganges. Ganga-dhara was a grammar Pandita of the Sans-
krit College, Calcutta, in its early days, and he composed the
work in 18385, twelve years after the foundation of the
College.
The 13th commentary named Chata by Misra is des-
cribed in I. O. Catal. p. 867.
Ixxxvi PREFACE.
The 14th commentary is ugdha-bodha-subodhint by
Radha-vallabha Tarka-pancanana, who quotes from Durga-
tika, Katantra-parisista, Dhatu-pradipa and Dhatu-
parayana,
The 15th is Madhumati, a commentary by Madhu- —
sidan Vacaspati, whose object is brevity. Samskara- —
sammafijari, by another Madhu-sitidana who was a Chat-
terji, is the 16th commentary.
The 17th is by Bhola-natha named Sandarbhamrta-
tosint. He quotes from Durga-dasa and Madhu-stidanagy
He seems to have been a student of Madhu-sittdana. |
Mugdha-bodha was meant as a school book, but as 1s
the habit of the Indian Panditas, they —
Sane ae wanted to make it as complete a workaaae
Mugdha-bodha. ~
as any other school, some by commen- _
taries and some by supplements. Three supplements to
the Mugdha-bodha are known.
1. By Nanda-kigora Cakra-varti Bhattacarya, written
in 1398 (Belvalkar, para 85). Nanda-kisora perhaps was —
not a Bengali.
2. By Kasisvara who studied the works of Panini —
and other schools, wrote a supplement to the Mugdha-_
bodha.
3. By Sri Rama Tarka-vagi8a, who says that he is
writing the Sesa or supplement to the Mugdha-bodha
(L. 2169). He writes only those facts of the language —
which are not to be found in the Mugdha-bodha itself.
PREFACE. Ixxxvii
Of the accessories of the Mugdha-bodha. (1) Kavi-
kalpa-druma on roots and its com-
mentary, the Kavya-k&ama-dhenu, both
by Vopa-deva, have been mentioned
already. A commentary of the Kavi-kalpa-druma by
Durga-dasa is much in use in Bengal (Our Catal. 4547-4550).
Accessories of the
Mugdhabodha.
Another commentary on the Kavi-kalpa-druma_ is
described in I. O. Catal. 879 by Rama-rama Nyayalamkara,
who quotes as his authorities Goyi-candra, Tri-locana, Rama
Tarka-vagisa, Bhatta-malla, Maitreya and Vistara-vrtti.
A second work on roots in imitation of the Kavi-kalpa-
druma is by Narayana written in A.D. 1654 though the
date is rather doubtful.
Rama Sarma wrote an Unadi-kosa in verse to which
Rama Tarka-vagisa appended a com-
mentary. Rama Sarma’s kosa was
from Panini, Katyayana, and Patanjali.
He lays the foundation of his commentary on the siitra of
Mugdha-bodha “atfq aajfaaa’; so this is a kosa of the
Panini school which has been suited to the Mugdha-bodha
school by Tarka-vagisa (I. O. Catalogue 874).
The Unadi of
Mugdhabodha.
Karaka-laksmanam, anonymous, and Karakollasa by
Bharata Mallika, are metrical treatises on Sanskrit syntax
belonging to the Mugdha-bodha school, to be found in
Nos. 4537 and 4537A of our Catalogue. Bharata Mallika
flourished in the middle of the 17th century at Patila-pada
near Jam-gan in the Burdwan District, and the anonymous
work is very rich in quotations and very useful for scientific
study.
Karaka-candrikaé by Rama-candra must be a very
modern work as it quotes from Supadma Vyakarana and
Raghu-nandan Bhattacaryya. (Our Catalogue No. 4551.)
lxxxvlili PREFACE.
Our last number on Mugdha-bodha is Vartika-mala,
a collection of supplementary siitras from Durga-dasa’s
commentary on Mugdha-bodha by Rama-candra V idya-_
lamkara, a disciple of Jagan-natha ‘Tarka-pancanana.
Jagannatha Tarka-paficinana was a prominent scholar in
the 18th century.’ He lived at Triveni and wrote a digest
of Hindu law for the East India Company. 2 os
In the 14th century of the Christian era, Mithila was ;
ruled by a Brahmin dynasty founded
by Nanya-deva at the beginning of the
12th century after the fall of the Karnataki kingdom.
They wanted a grammar of their own as they had smrtis
and nyaya works of theirown. So Padma-nabha wrote the
Supadma vyakarana with the object of giving a clear and
full ( wd, qa ) idea of Sanskrit grammar to ordinary
students, but at the same time, leading them to Panini
school, if they wanted to be experts in grammar. Padma-
nabha gives his own date in his work entitled Prsodaradi
vrtti (H.P.R., I, 228) as 1297 of the Saka era equal to
~1373 a.D. Padma-naibha himself, besides the Supadma-
vyakarana, its Pafijika and Prayoga-dipika, wrote manya
other works as Unadi-vrtti; Dhatu-candrika (or Kaumudi) ;
Yarhluk-vrtti; Paribhasa-vrtti; a poem named Gopala-_
carita; a commentary on Ananda-lahari; on Magha;
Chando-ratna, a work on prosody ; a work on smrti named
Acara-candrika and a lexicon named Bhtri-prayoga.
(H.P.R., I, 223 and I. O. Catalogue 890).
Supadmea grammar.
t
In our No. 4557, Padma-nabha gives his Genealogy —
from Vara-ruci, who is said to have
Genealogy.
Tee graced with Kalidasa, the court of
Vikramaditya.
PREFACE. Ixxxix
Vararucl
Nyasa-datta, expert in Maha-bhasya
Durghata, expert in Panini
Jayaditya, expert in Mimamsa
Sri-pati, expert in Samkhya
GaneSvara, expert in Kavya
Bhanu-bhatta, author of Rasa-manjari.
Halayudha, expert in Mimamsa
Sri-datta, expert in Smrti
Bhava-datta, expert in Vedanta
Damodara, expert in Kavya and Alamkara
Padma-nabha.
Padma-nabha was an inhabitant of Bhora grama, a few
miles from Darbanga. Padma-nabha’s work, however,
is not much studied in Mithila. Its study is confined to
the districts of Jessore and Khulna, and the towns of Nai-
hati and Bhatpara.
Padma-nabha himself wrote a commentary on his
own work entitled Tippani or Panjika,
which has not yet been obtained. His
Prayoga-dipika may also be regarded
as a commentary. It shows the working of the rules of
the Supadma grammar. It is divided into chapters on
Karaka, Sandhi, Samasa, Krt, and Taddhita (our No. 4561).
Commentaries on
Supadma Grammar,
The No. 4563 represents the declensions of the
Prayoga-dipika.
xC PREFACE.
The best commentary on the Supadma is the Supadma-
makaranda by Visnu-misra in twenty sections called
Vindus. Su-padma is a lotus, the commentary is honey
and its chapter drops. (I.O. Catalogue 585.)
Our No. 4565 is put down as an anonymous comment-
ary on the Supadma, but it is really one of the twenty
vindus of the Supadma-makaranda.
The second commentary on Supadma called Samkari
is by Rama-sSamkara Tarka-pancanana. He bases his work
on the opinions of his elder brother and Visnu-Misra.
Many of the accessories of this school of grammar
were written by the founder of the
Accessories of Supadma
7 school himself, namely, Paribhasa-vrtti
Grammar. °
(our 4557 to 4560) and Yarhlugadi-
vrtti. In Sanskrit grammar the use of frequentative yam
is the most difficult part and becomes still more difficult
when the frequentative affix is dropped, that is, when
yamluk takes place. Padma-nabha gives a special treat-
ment to this disappearance of the frequentative element,
and this is a new feature of this school (Our Catalogue
No. 4562). Unadi-vrtti (1.0. Catal. 891) consists of two
chapters. The first treats of vowel suffixes and second of
consonantal suffixes arranged alphabetically according
to the final consonants. Prasodaradi-vrtti by Padma-
nabha is a part of his Unadi-vrtti, but this is opposed to
the opinions of other grammarians who consider Prasgo-
daradi as an appendix to the Samdasas and Unadi to the
Krt chapter. But owing to the difficulty and uncertainty
of both, Padma-nabha has treated them together. Padma-
nabha gives a date in this work as, wi Ta aatfea equal to
Saka 1297=—1375 A.D. (H.P.R., I, 228). Padma-nabha gives
PREFACE. xCl
his genealogy in this MS. in which the 5 lines giving the
names of five of his immediate ancestors are unfortunately
missing. The work differs greatly from that of Panini; only
the first stitras of the two chaptersagree. Dhatu-patha (1.0.
Catal. 893) is probably the Dhatu-Kaumudi mentioned in the
list of Padma-nabha’s works. With it there is a comment-
ary called Dhatu-nirnaya by an anonymous writer. The
authorities most frequently referred to in the commentary
are Halayudha, Govinda-bhatta, Bhatti, Durga, and ‘Tri-
locana, Dhatu-pradipa by Maitreya-raksit and vopa, 2.é.;
Vopa-deva. Less frequently mentioned authors are Aruna-
datta, KauSika, Ksira-svami, Gada, Gobardhana, Catur-
bhija, Jaya-mangala, Durghata, Durghata-vrtti, Dhatu-
Karika, Padma-nabha, Dhatu-Parayana, Parayanika, Puru-
sottama, Ptrna-candra, Bhatta, Bhaga-vrtti, Bhuri-pray-
oga, Rabhasa, Rama, Rama-dasa, Rudra, Vara-ruci, Varna-
deSana Vardhamana, Vallabha-deva, Vamana, Vikrama-
ditya, Vrtti, Sabdarnava, Sarana-deva, Sri-pati, Supadma,
Sparsakarika, Hari-dasa and Hema-mala.
The same catalogue contains a metrical arrangement
of the Dhatu-patha by an unknown Brahmana, the son of
Sundara and Jaya. The work is entitled Gana-panktika.
The author thinks that his work will be useful to those
who study Vyakarana, Puranas, Sahitya. and current
Sirti.
From the Unadi-vrtti of Padma-nabha a glossary
of words was formed by Rama-govinda, the son of Rupa-
narayana Cakra-varti. The name of the work is “ Sabdab-
dhitari,”’ a boat for crossing the “‘Sea of words.”
Padma-nabha’s Paribhasa or Paribhasa-vrtti has a
commentary by Rama-naitha Siddhanta, who explains
XCli PREFACE.
not only the Paribhasa but the genealogy also and the list
of works by the author. Padma-nabha is said to have
written all these works at the request of his father.
Rtpa-narayana Sena, a physician, has written two
works Samasa-samgraha and Supadma-sat-karaka. They
are metrical summaries of the Karaka and Samasa chapters
of the Supadma-Vyakarana. The summariser says that
he is a resident of Payo-grama.
The date of Ripa-narayana is given ea tafafaataa |
Eggeling says “This would give Saka 1701 (A.D. ] 779)
hardly Saka 1401 (A.D. 1479) for the date of Rtpa- “haraya-
na’s composition. In ancient India af always neal
four, but in modern India especially in Hastern India,
means seven, so Riipa-narayana’s Saka would be 1 701 a
not 1401”. The commentary on the metrical summary is
taken from Visnu-misgra’s work and Riipa-narayana savs
that Visnti-misra’s tika purifies the mind like the waters “i
the Ganges.
Rama-bhadra Nyayalamkara writes a versified sum-
mary of the chapters on declension of Supadma, entitled
Sabda-vali. His object is to have a Supadma- -prakriya in
the same way as the Katantra-prakriya for the comprehen-
sion of little boys (I.O. Catalogue 889).
Rupa-rama Nyaya-paficanana wrote a work on syntax,
according to the Supadma school, for the comprehension of
little boys. Teaching of Supadma grammar was perhaps
hereditary in the author’s family.
Sultan Ala-ud-din Hussain Shah of Bengal about
1500 A.D., destroyed the Kingdom of Kamatpur. It then in-
PREFACE. xeCill
cluded Dinajpur, Rangpur, Gauhati and other districts. But
out of its ruins, ina short time, owing to the pre-occupation
of the Bengal Sultans in other directions, rose the powerful
Kingdom of Cooch Bihar.
One of the Rajas of Cooch Bihar in the latter half of the
16th century requested their court-
pandita Purusottama-vidya-vagisa of
Khagda-badi in Cooch Bihar to write
a grammar. The pandita wrote a number of karikas and
to explain these he wrote a grammatical work entitled
Prayoga-ratna-mala, in the year 1568 A.D. “aware Ag
wa”, that is, Saka 1490 and this date seems to be the
correct one and not 1772 as given in 1.0. C ‘atal. S95, because
one of the tika-karas Mahendra-Sarma-upadhyaya on
the krt section, gives his date as “ aapateeaMeaaah ”
that is, Saka 1687 equal to 1765 A.D.
Prayoga-ratna-miilii
School.
Purusottama was proficient in Panini and Katantra
and he has tried to blend together the nomenclature of
both these systems. He includes Ks in the Sanskrit alpha-
bet and says he has done so only for mantras, that is, be-
cause the tantrikas accepted the Ks as the last letter of the
alphabet. He also says that he included that letter to show
that he was not a slavish imitator of Panini. In the same
breath he says that the letters from A to Au may be called
either Svara (kalapa) or Ac (Panini). Purusottama’s gram-
mar is not an elementary grammar, but a orammar;ian’s
grammar. It deals with many grammatical puzzles.
In the main, Purusottama has used the nomenclature ot
Katantra and has taken examples from that grammar. In
his time, the grammar of Candra used to be studied in Bengal.
On several occasions he has quoted Candra. Thus, in para
XG1V PREFACE.
773, he says, “ae Ua: wana BuRua ra arara-
aaiaats: .”” He quotes in para 806, Ratna-mati a comment-
ary on Candra (our Catal. No. 4413). Following Candra he
derives sqfa and zafa from two indeclinables #4 and <a
meaning wife (para 852). In para 881, he says, “ wHTWst
gsaaagacmaa ”, that is, the originality of Candra was that
he had no Samjfhas or definitions (am a#urfeaym aracaT
TaAURIITaS ).
Another grammarian whom he quotes occasionally is
Subhaiti. Purusottama is fond of quoting from Buddhist
works; he quotes Tri-kanda-Sesa; he mentions Mafiju-sri.
He points out non-grammatical expressions from Buddhist
works. “@t gm Wa gaa gananqet TAATaT Aaa)”
Para 134. He names his chapters as Vinyasas or disposi-
tions.
The grammar is studied in Cooch Bihar, Jalpaiguri,
Gauripura, Hakama, Salkacha Laksmi-
pura, Bijni, Habara-ghat, Kamaripa,
Assam, Pangi and other places.
The extent of its study.
The whole ot the work is accompanied by a very
modern commentary by the editor of
the printed edition Siddha-natha Tarka-
vagisa, entitled Gadha-prakasikaé. But it has other and
older commentaries also. The edition printed under the
patronage of the Cooch Bihar Rajas has, for the greater part
of the work, a commentary named Prabha-prakasika by
Jaya-krsna Bhattacaryya. For the taddhita chapter it
has panjika by JiveSvara Bhattacaryya; for the krt
chapter it has krt-prakasika by Mahendra Bhattacaryya
written in 1765 A.D. This edition of the work is very credi-
table to the Government of Cooch Bihar. The work hag
Commentaries.
ees
PREFACE. XCV
been executed by Siddha-natha himself, a commentator,
¢
with scrupulous care.
Katantra, Candra and Jainendra, cast Panini’s gram-
mar, with additions and improvements
by Katyayana and Patanjali, into the
shade. Bharttr-hari in the 7th century re-introduced the
study of Panini by his commentary on the Maha-bhasya,
by his philosophy of grammar the Vakya-padiya, and some
say, by his Bhaga-vrtti too. But this is very doubtful.
The study of Panini was really restored not by his friends,
° the Brahmanas, but by his enemies, the Buddhists, Jaya-
ditya, Vamana, Jinendra-buddhi. Maitreya-raksita and
Purusottama-deva. What with Brahmanic and what with
Buddhistic commentaries, the study of Panini became very
cumbersome, and so, it was thought desirable to recast the
Astadhyayi and sive it a practical shape: that is, to
evolve out of this vast literature, school books large and
small. The smallest of these recasts is Rtipa-mala by
Vimala Sarasvati composed about the beginning of the 11th
century, as it quotes Bhoja who flourished in the earlier
part of that century. Its sections are called malas as
Samjha-mala, Sarva-nama-mala, Niyata-linga-mala, Chan-
dasa-mala, Stri-pratyaya-mala, Sarva-dhatu-mala, Lakarar-
tha-mala and so on. He adopts Panini’s nomenclature
and Panini’s method of interpreting stitras, and as it 1s an
abstract of Panini and its recast, it has a chapter on the
Vedas also.
Recuasts of Panini.
Then comes Ritpavatara by Dharma-kirti. It was
adopted in the grammatical curriculum of the educational
institutions established by Rajendra-Coda, in the beginning
of the llth century. This emperor Rajendra-Coda raided
Bengal about 1023 A.D., where he conquered the kings of
4
xCeCVl PREFACE.
Daksina Radha, Uttara Radha, Danda-bhukti, Sangha-koti
and Vanga. It was he who established these educational
institutions. He made provision for the subsistence of pro-
fessors and students. ‘Twenty-five students were assigned
to each professor. The Rg-veda had three professors. The
Laittiriya and the Vaja-saneya sakhas of the Yajur-veda
had twenty-five students and one professor each. The
Kauthumi-sakha and the Jaiminiya-sakha of the Sama Veda
had twenty-five students and one professor each. The
Prabha-kara school of Mimamsa had twenty-five students
and one professor. Rtpavatara grammar had twenty-five
students and one professor. (Ann. Rep. Epi., 1918, p. 146.)
No Riipavatira was composed some time before these insti-
tutions were established, say, in the latter half of the
10th century. Its sections are called avataras; such ag
Samjfavatara, Samhitavatara, Avyayavatara, Stri-pratya-
yavatara, Karakavatara, Samasavatara, Taddhitavatara.
Thus ends the first half of the work. The second half ig
called the Dhatupratyaya-paiicika, though it ends with
the word ‘“ Rupavatarah samaptah.”’
Both Rupavatara and Rupa-mala omit many sittras of
Panini, but they treat of the Vedic grammar though very
slightly. They avoid all that is difficult even in classical]
Sanskrit. In the first half of the Riipavatara, for instance,
only 1426 sttras have been included. Riapavatara accepts
the Siva-sitras of Panini and generally accepts his nomen-
clature. It isin the form of a catechism. It gives examples
first and then brings in Panini’s stitras.
As the author of Ruipavatara is a Singhalese and
Buddhist, he does not care much for the Vedic irreculari-
ties. It has been printed from Madras by Rao Bahadur
M. Rangachari, M.A.
PREFACE. XCVill
The Rupavatara was current in many parts of India.
Its MSS. have been discovered in Nepal, Travancore,
Madras and other places.
The next recast of Panini was prepared in the Andhra
country by Rama-candracarya. It omits but few of Panini’s
sutras and treats of the Vedic grammar and Vedic phonetics,
too. Rama-candra’s grandson Vitthala writes a comment-
ary on his grandfather’s work. Both the grandson and
the grandfather ceive a lot of information about themselves,
their family, their literary works, their spiritual descent from
gurus and so on. ‘This is one of the few instances in which
authors of Sanskrit works are not reticent about giving the
history of their family.
Rama-candra has a chapter on the Vedic grammar
and Vedic phonetics. But, he seems to have rejected many
difficult rules of Panini. He was liberal enough to admit
the opinions of other schools of grammar also, for instance,
Katantra and Candra which, in many cases, differ from
Panini.
Sir R. G. Bhandarkar’s date 1450 A.D., has been
accepted by the editor of the Prakriya-
prakasa in the Bombay Sanskrit Series,
though from the date of one of his
MSS. he says it was written in the fourteenth century. The
editor of the Rapavatara in his Sanskrit preface accepts
thesame date. Eggeling, also, apparently accepts the same
date but in his Catal. No. 621 he raises an objection
stating that Rama-candra composed and Vitthala’s father
Nr-simha commented upon the Kalanirnaya, a work placed
by Colebrooke in about 1243 A.D. (Miscellaneous Essays,
Vol. Il, p. 379, Note.) That note runs thus:—
Date of Prakriya
Kaumudt.
x¢CvVill PREFACHE.
‘¢Rama-candra, who in the Kala-nirnaya states the
quantity of precession as amounting to 12°, and reckons
the precession at a minute of a degree a year, seems also to
have followed the same authority. He may, therefore, have
written about sixty years subsequent to the date of the
Karana-kutthala; or Saka, 1165. This ascertainment of
the age of Rama-candracarya is a step towards investigating
the age of writers in other branches of science, who have
quoted this author, and who are cited by him. They are
numerous.” |
Eggeling under Catal. No. 614 says “‘ According to a
note, by Colebrooke, on the first leaf, VireSvara Sesa, then
living at Beneras, was reputed to be a descendent of the
author of the Prakriya-kaumudi, and stated his own
senealogy as follows :—
Rama-candra pandita.
Nr-simha pandita.
Narayana pandita.
Cakra-pani pandita.
Viresvara pandita.
Sambhu pandita.
Gopala pandita, and then
Viresvara pandita himself.”
Thus I have stated in full, all the theories about the
date of Rama-candra, the author of the Prakriya-kaumudi,
by competent scholars of modern times, and I think, Sir
R. G. Bhandarkar’s date, cannot stand for the following
reasons :—
(1) In the 15th century the whole of the Andhra
country was ina tumult. The Hindu Rajas of Warangal
‘had constantly to fight with the Bahmanis. Ahmed Shah
Bahmani, in 1424 A.D., sacked Warangal and killed the
PREFACE. xcIx
last of the Kakateya kings. Though the Muhammadans
could not conquer and annex the whole of the Andhra
country, it was always in a tumult till the Kutub-shahis in
16th century finally put an end to Hindu independence in
that part of India. That was not the century in which a
work like Prakriya-kaumudi could be composed.
(2) If what Mahamahopadhyaya VindheSvari-prasada
Daube of the Saravati-bhavana of Benares wrote to me is
true, a manuscript of Prakriya-kaumudi was copied in
1420 A.D.
(3) Rama-candra had written three works, Kala-nirna-
ya, Prakriya-kaumudi and = Vaisnava-siddhanta-dipika.
Writers of Kala-nirnaya generally indicate the date of
their composition in their book. In fact, they commence
their calculation of time from the commencement of writing
their work and if Rama-candra states the quantity ot
precession as amounting to 12° and reckons that precession
at a minute of a degree a year, he seems to have followed
a principle accepted by Hindu astronomers. The Karana-
kutthala, written in Saka 1105 calculates the quantity of
precession at 11°, so between Karana-kutihala and Rama-
candra there is a difference of one degree, that is, 60
minutes, that is, 60 years. So Rama-candra must have
flourished in Saka 1165, that is, 1243 A.D. This will make
the copying of a MS. in 1420 possible.
(4) Against this theory, stands the statement of Sesa
VireSvara, that he was eighth in descent from Rama-candra.
But eight generations would not take Rama-candra even
to the 15th century. Eight generations would be three
centuries and three centuries before Colebrooke would be *
1510 or thereabout.
Cc PREFACE.
(5) In his introduction, page xlv to the Pr
mudi, K. P. Trivedi writes the following :—
‘‘Rama-candra, Vitthala and Hemadri.—The Prasada
and the Prakriya are quoted by Hemadri in his comment-
ary on taam (vide 15-69. ufsatgare atafa qaifaae and p,
311 of the text and TAo UR-RE. ofAaatgat § WsTATeeIBATS
faatad a wiaa tfa” and p- 584 of the text). It is clear
from this that Rama-candra lived before Hemadri, a pre-
decessor of the commentator Malli-natha, who is assigned
to the fourteenth century. This confirms the conclusion
that our author flourished in the fourteenth century. ”’
‘akriya-kau-
Does this statement confirm the conclusion that Rama-
candra flourished in the 14th century, that is, between 1300
and 1400? It does not. Mallinatha’s son was the court
pandita of the last king of Warangal. Malli-natha there-
fore belonged to the latter part of the 14th century, and
Hemadri his predecessor (if he is not the great Hemadri
the friend of Vopa-deva) must have flourished at least
in the first half of the 14th century. Even then if Hema-
dri quotes Vitthala and Rama-candra, they must 70 to the
13th century, that is, Vitthala in the latter part and his
grandfather Rama-candra in the earlier part of the century.
So Colebrooke’s calculation, that he flourished in 1243 A.D.,
stands as correct.
This refutes another theory of Prof. K.P. Trivedi that
the Kala-nirnaya commented upon by Rama-candra is
simply Madhava’s work on kala, and Madhava is well
known to have flourished in the latter half of the 14th
century, and cannot be commented upon by Rama-candra.
There are many other works entitled Kala-nirnaya, for
«instance, the Kala-nirnaya by Jimiita-vahana, in Bengal,
who flourished in the 12th century.
PREFACE. Cl
(6) The date of Rama-candra Bhattacarya, has been
accepted by scholars, as the middle of the 15th century,
from a statement in Sir R. G. Bhandarkar’s report on the
search of Sanskrit MSS. in the Bombay Presidency, in the
year 1883-84. He says in page 60 of that report, ** There
is a manuscript of the Prakriya-kaumudi in the collection
belonging to the old Sanskrit College of Poona (No. 324)
which also bears a double date, viz., 1583 Samvat and 1448
Saka or 1527 A.D. But the lines in which the date is
given run thus :—** On Tuesday the 13th of the light halt of
the month of Bhadra-pada, the current year being Samvat
1583 and Saka 1448, (this) was transcribed at Nandi-gir
by Rama-candracairya-stita-sita-stta. Between the st
and the ta of the second siita we have some letter, but
there is a mark indicative of erasure on it, and the usual
upper horizontal stroke is wanting which shows that the
letter is not to be read. Thus then that manuscript was
transcribed in 1527 A.D. by the son of the son of the son
of Rama-candracarya, ¢.e., by his great-grandson. The
Rama-candracarya spoken of, must be author of the Pra-
kriya-kaumudi, for if he had been another person ditferent
from the author, some distinguishing particulars would
have been given about him. Besides, the Nandi-giri where
the manuscript was copied, is the same as Nander situated
on the Godavari, in the territory of the Nizam; and the
country surrounding it corresponds to the Andhra-deSa in
which, as we are told in the Prasastis, the family lived.
If, therefore, a great grandson of Rama-candracarya lived
in 1527 A.D. Rama-candracarya himself must have lived
about 1450 A.D.”? (Appendix III, UU.) This makes four
generations live within 77 years !!!
At the end of the extract UU, Sir R. G. Writes :-—
“No. 324 of Visrama-baga Collection, Prakriya- ~*~
kaumudi.
Cll PREFACE.
ufmarataet |
at af at Faq .yss ae WR UaaATA HiRGzAala yaa
~ Ce aed — ~ * . o~ ~ c ~ -
AAT =TaTI fast wtafes afzfuat aiciaaerara aagqada afa | “AA
wag | RMA ” |
Sir R. G. does not copy the scribe’s description pro-
perly. He should have written it as he has described in his
report page 60. Suita, St....ta Stta or he should have
given a facsimile of the writing. I am disposed to think
thatit is Stita....Sita Stta, z.e., a descendant of the author
and not exactly his great-grandson.
I have, however, got in my copy of this report of
Sir R. G. facing page 60 a paper in which M. M. Pandit
VindheSvari-prasada, librarian of the Benares Sanskrit Col-
lege Library, gives the information that a MS. of P. K.
was written in 1420 A.D.
gfaratget Fay casa RMAT |
Wasa Vl Hawnteyat face |
at Haq 7eod aq mImmats wt | fafaad |
K. P. Trivedi says, in page xxx of his introduction
to the edition of the Prakriya-kaumudi “The earliest MS.
of Prakriya-kaumudi in the Government Sanskrit College,
Calcutta, is dated Samvat 1493, equal to 1436 A.D.”
In the Calcutta Sanskrit Association, option has been
given for Prakriya-kaumudi-vyakarana and the work is
taught in Orissa. The Cangu-stitra too, has been tacked
to the Prakriya-kaumudi and it seems to have some circu-
lation yet.
There are two commentaries which are prominent
on this system of grammar. “Oné is Prasada by Vitthala,
PREFACE. Clll
the grandson of Rama-candra, and the other by Krsna
of the Sesa family who flourished in the 16th century
and had some influence in the court of Akbar. Vira-v¥ala
and Todara-malla seems to have patronised him. He was
not only a grammarian but a poet and a dramatist too.
His drama Kamsa-badha was enacted before Giri-dhari son
of Todara-malla, and his Prakriya-prakasa was written at
the request of Viravala for the education of his son Kaly-
ana (1.0. Catal. 622-24),
Vitthala in his Prasida gives the following genea-
logy of his family for several generations :—
Avimukta of the Kaundinya gotra
Anantacairya
Nr-simha
|
| |
Gopalacarya Krsnacarya
|
eee
Nr-sinha Rama-candra
(author of Prakriya-kaumudi)
Nr-simha
Vitthala.
Thus from Vitthala we know six generations of his ances-
tors. Hach one of his ancestors was a profoundly learned
man, and they were educated under famous gurus of their
generation. They were Vaisnavas, but as Brahmanas they
learned the Vedas also. They were astronomers and smar-
tas. They were proficient in different systems of Hindu
philosophy, specially the Partica-ratra system. Rama-
Candra’s father Krsnacarya expounded Suatra-vrtti in the
C1V PREFACE.
court of Rama. K. P. Trivedi gives an exhaustive account
of the seven generations of panditas in his introduction,
But that account is to be found in Sanskrit in the pro-
logues and epilogues of Rama-candra’s and Vitthala’s
works.
Besides Vitthala and Krsna, there is another com-
mentary also on the Prakriya-kaumudi, Tattva-candra
by Jayanta, son of Madhu-sidana, a native of Prakasa-
puri on the Tapti. He seems to have followed Krsna-
pandita and written his commentary in the 17th century
(1.0. Cat. No. 625).
Two other commentaries are mentioned by Burnell,
one by Varand-vanega Sastri called Amrta-smiti and the
other by Vi8va-karma Sastri son of Damodara called Sat-
prakriya-vyakrti.
The last and the most important recast of Panini
is the Siddhanta-kaumudi by Bhattoji-diksita. This work
has the widest currency of Sanskrit grammars. The exact
date of its composition is not known; but the commentator
on Baranasi-darpana, a poem on Benares in eleven cantos
(L. 765) tells us, that he obtained purity of speech from
Bhattoji-diksita and his son whose name as a Sannyasi
was Ramasarma. A pupil of Bhattoji wrote a work on
Siddhanta-kaumudi in 1636. Bhattoji’s work was there-
fore written in the later years of the 16th century.
Narayana-bhatta was born in March 1514; (Indian
Antiquary, January 1912 p. 7-13) he obtained the title of
Jagad-guru in 1572 A.D. from Akbar. At Benares he was
the head of the panditas of the place. After his death his
second son Sankara-bhatta became the head. Bhattoji-
Diksita was a pupil of this Sankara-bhatta. He was also
PREFACE, CV
a pupil ot Sesa-krsna, whose drama the Kansa-vadha was
enacted before Giri-dhari, son of Todara-malla. Sesa-krsna
wrote the Prakriva-prakaSa at the request of Raja Vira-vala
for the education of his son Kalyana. (See the preamble ot
Prakriya-prakasa, verse 35) Vira-vala died in 1586 A.D.
The request for writing Prakriya-prakaSa must have been
made when Kalyana was very young. So I put it down
in the sixties of the century. Bhattoji must have read with
Sesa-krsna when the Prakriya-prakasa was in the makings
Perhaps he and Kalyana read together. After finishing his
education with Sesa-krsna Bhattoji became a pupil of San-
kara-bhatta, for Kosa and Vyakarana are juvenile studies,
Smrti and Mimamsa come later. Bhattoji finished his
education, say about 1580. Then he wrote his Siddhanta-
kaumudi and its commentary the Praudha-manorama.
Varada-raja who was a pupil of Bhattoji, made the
abstracts of the S. kaumudi in the nineties and the Madhya-
mManorama was written by Rama-sarma about that time.
Bhattoji, after writing the grammars, busied himself in
writing Smrti works, many of which hold their ground still.
So Bhattoji lived many years after writing his grammats.
There will be no difficulty of Rama-Sarma in dedicating his
Madhya-manorama to Vidya-nivasa, whom we find eetting
apart of the Krtya-kalpa-taru copied by Kavi-candra, a
Kayastha, in 1588. (1.0. Catal, 1385) “ a}re-wefaatataa
WH |”?
Bhattoji’s son Bhanuji Diksita after finishing his erudite
commentary on the Amara-kosa renounced the world and
became Ramasarma. The exact date of this renunciation is
not known.
There is a work entitled Varanasi-darpana. The book
has not yet been found.» But a commentary, by the author
cyl PREFACE.
himself, was written on it, and there the date of the
original is given as Samvat 1698, equal to 1641 A.D., (vde
L. 765) and the commentator salutes Bhattoji Diksita and
Ramasarma as his gurus. So the commentary on Amara-
kosa and the renunciation must have taken place before
that date.
Bhattoji was early educated under two of the most
prominent men of the 16th century;
’ His gurus. ie
one was Sankara-bhatta, the son of
Narayana-bhatta, on whom Akbar conferred the title of
Jagad-guru. Sankara-bhatta in a historical work entitled
Gadhi-vamsanu-carita, speaks of Bhattoji Diksita as one of
his pupils. Perhaps, Bhattoji learnt from him Mimamsa and
Smrti, in which Bhattoji wrote several works which are still
current. His other guru was Sesa-krsna, the commentator
of Prakriyaé-kaumudi. Sesa-krsna was a very proud man;
proud of his learning and proud of his position in society,
He most probably lived at Delhi. Of the two great ecom-
mentators of Prakriya, Vitthala was mild, modest and very
respectful, while Sesa-krsna was the very reverse of it. Sesa-
krsna’s commentary, the Prakriya-prakasa, had a wide
currency as he was patronised by Vira-vala and Todara-
malla, two prominent Hindu ministers of Akbar. But
Bhattoji was not very respectful to his guru and specially
to Sesa-krsna whom he severely criticises and whose work
he eventually ousted from currency in Northern India,
The whole of the 17th century was rather an exciting
time among the grammarians. Sesa-krsna and his family
and followers abused Bhattoji Diksita and Bhattoji Diksita’s
family and followers retorted. About the middle of the
century Pandita-raja Jagan-natha, the Sanskrit teacher of
Dara Shikih, abused Bhattoji as an ungrateful pupil who
after receiving a complete knowledge of grammar from
PREFACE. evil
Sesa-krsna, refuted him not in very respectful terms, in his
Manorama. Jagan-natha who received his knowledge of
grammar from NSesa-krsna’s son wrote a defence of his
guru’s family in a work which he abusively terms Mano-
rama-kuca-mardana, in which he severely criticises Mano-
rama, Bhattoji’s own commentary, on his Siddbhanta-
kaumudi. Jagan-natha was also a resident of Delhi and
after the beheading of Dara, retired to Jaya-pura and there
Wrote not only on Jyotisa, but on many other subjects. «
The Benares panditas however, triumphed and their works
are now the best known works in Sanskrit grammar, while
the Delhi panditas shared the fate of the Mughal Empire.
Bhattoji Diksita was not so liberal as Rama-candra.
He would not tolerate any opinion expounded or any new
facts of the language noted by the Buddhist commentators
of Panini. He discarded them all as a-Panineya, t.e., not
sanctioned by Panini, and as Bhasya-viruddha, or as con
tradicting the opinions of Patanjali. Rama-candra lett
out many difficult sutras of Panini but Bhattoji left out
hone. Bhattoji accepted the arrangement otf Vopa-deva
aad he marshalled Panini’s stitras strictly according to that
arrangement, while Rama-c andra had to make his oW”
arrangement as he came before Vopa-deva,
‘ + | vy ON
As T have said before, Bhattoji wrote a commentary
the Maha-bhasya entitled Sabda-kaustubha, so he had @
deeper insight into the ‘‘ Great Commentary ” than mel
living in his time. He always supported the orthodox
View of Patafijali, Bharttr-hari and Kaiyata and had scant
courtesy for Jayaditya, Vamana, J inendrasbuddby Lae
datta and others.
Siddhanta-kaumudi means a collection of decisions by
the best grammarians while Prakriya-kaumudi meant the
CVvill PREFACE.
process of learning srammar. The difference of the object
of the two authors is apparent from the names of the works.
Bhattoji’s work was meant to be a standard work for edu-
cational purposes. He had therefore to write two com-
mentaries on that work for scholarly purposes of different
degrees, one is called Bala-manorama and the other
Praudha-manorama. But all efforts of Bhattoji would have
been futile, had he not written a commentary on the Maha-
bhasya followed by a short work on the philosophy of
grammar, and had he not been followed by a galaxy of
great authors supporting him in all that he did. The first
great man was his own nephew who wrote a commentary
on his 71 Karikas on philosophy of grammar and expounded
the principles in a great work entitled Vaiyakarana-bht-
sana. His grandson Hari Diksita wrote the Sabda-ratna, a
commentary on Bhattoji Diksita’s Praudha-manorama.
The greatest supporter of Bhattoji Diksita, however,
was Nagoji Bhatta, a pupil of Hari Diksita, who commented
upon all his works and the works of his school. He had a
long life and lived more than 100 years and died in 17 75,
on the day when Warren Hasting’s life was in jeopardy on
account of the Benares revolt.
IT have already spoken of the commentaries on Sabda~-
kaustubha by Bhattoji as a commentary on the Maha
bhasya and of the sub-commentaries by Nagoji and his
pupils on the Siddhanta-kaumudi. Nagoji wrote the
Sabdendu-Sekhara, in two recensions, the Vrhat and the
Laghu. They are full of information, but they are written
in the style of modern Naiyayikas which is rather difficult
of comprehension. ‘The Pari-bhasas used by Bhattoji were
explained, or as they say, cleared by Nagoji, in his Pari-
bhasendu-sekhara. Nagoji’s books were in their turn ex-
PREFACE, Clix
plained by Vaidya-natha Paya-gunde, his chief disciple,
belonging to the Mahratta Colony at Benares.
Rajendra-lala in L.G.R. p. 121, gives
the following lst of commentaries on
the Siddhanta-kaumudi.
Commentaries on Sid-
dhanta-kaumudi.
‘The oldest commentary is the Praudha-manorama
by the author himself. The second is Tattva-bodhini of
Jinendra Sarasvati. The third is Sabdendu-sekhara, with
its abridgement the Laghu-Sabdendu-sekhara by Nagoji-
bhatta. The fourth is Vaivakarana-siddhanta-ratnikara by
Rama-krsna-bhatta. The fifth is the Subodhini by Jaya-
krsna-bhatta. The sixth is Sarala by Tara-natha Tarka-
Vacaspati. These commentaries again are accompanied by
glosses on them, that is, the Sabda-ratna by Hari Diksita
on Manorama, second the Laghu-sabda-ratna an abridge-
ment of the last, third the Bhava-prakasika by Vaidya-
natha Payagunde being an exposition of Hari Diksita’s
commentary and fourth the Cidasthi-mala by the said
Vaidya-natha, being a commentary on the abridged gloss of
Nagega,.”’
> = | Lae al
Rajendra-lala says that Rama-krsna-bhatta’s com
mentary, the Siddhanta-ratnikara is written I such an
easy style that it deserves wider circulation than it has.
Jaya-krsna’s commentary does not cover the whole
field of Siddhanta-kaumudi but takes in only the Vaidika
erammar and Vaidika phonetics and along with them the
Prati-sakhya and the phit-stitras.
Bhattoji Diksita had a disciple named Varada-raja,
who made three abridgements of his
work, Madhya-siddhanta-kaumudi,
Laghu-siddhanta-kaumudi and Sara-
Abridgements of Sid-
dhanta-kaumudi.
Cx PREFACE.
siddhanta-kaumudi. The Madhya is of considerable extent
and is intended to impart not only an elementary but a fully
working knowledge of the language. The Laghu is intended
for beginners and the Sara is an absolutely elementary work
current at present at Mithila and Purnea. All these abridge-
ments retain the sitras of Panini, only fewer and fewer in
“number, but arranged almost in the same order as in the
siddhanta-kaumudi. The Laghu and Sara do not mind
much about the Vaidika grammar and Vaidika phonetics
and all the three discard anything that is difficult and
minute. The commentary on the Siddhanta-kaumudi by
the author himself is called Manorama. The Madhya has
a commentary called Madhya-manorama. It is simply an
abridgement of the Praudha-manorama as far as it relates
to the stitras of the Madhya. The commentary is by
Ramacandra Sarma, who wrote it at the request of Siva-
nanda Bhatta or Sivananda Gosvami and it was dedicated.
to Vidya-nivasa, the most prominent Pandita of Bengal at
the time of Akbar, and who was perhaps the guru of the
author.
Another abridgement of the work is Sabda-sobha
(Leipzic Catal. 760) by Nila-kantha-kavi, a direct disciple of
Bhattoji Diksita. The father of the kavi was Janardana
Sukla and the mother, Hira. His Mother's father was Vaca-
carya. The work was composed in Samvat 1693, that is,
A.D. 1636. From this fact Belvalkar supposes that Bhattoji
lived at 1630 A.D. This sort of calculation, I believe, is
wrong. Bhattoji in order to write so many works in gram-
mar, Smrti and Mimamsa must have lived a long life, and he
was a student of Sankara-bhatta and Sesa-krsna. Sesa-
krsna wrote his Prakriya-prakaSsa for the benefit of Kalyana,
the son of Vira-vala who died in 1586 and Sankara was
teaching, I believe, from 1570 or earlier. The work Sabda-
PREFACE, CX1
Sobha has been found at Dacea written by a Jaina yati
named Vadana-nisana-gani. The work is a very short one
but it gives a complete idea of what a Sanskrit grammar
should be.
The minor schools of grammar for the last five or six
hundred years are full of interest.
They show the direction in which the
intellectual activities of the Indian
literary classes were directed. With the loss of political
power, Sanskrit ceased to be the court language, and even
the language of the higher classes of the society. But the
Brahmins wanted to conserve Sanskrit language. literature
ancl culture. They had no time, no leisure and no inclination
tor deeper study of Sanskrit as a language. They, therefore,
began to write short and easy works of grammar to o1ve
the people a working knowledge of that language. The
Sarasvata-stitras, seven hundred in number, seem to be the
earliest manifestation of this tendency. But the tendency
continued for centuries and produced many schools of short
grammars. Of these grammars a number are mere sectarian
works. Vopa-deva in the 13th century in his Mugdha-bodha
gave a sectarian turn by taking all examples from the names
of Visnu and Siva whose identity he believed in. But he
was outdone in the 15th and 16th centuries, by the followers
of Caitanya. These not only took all examples from the
names of Hari but the numerous names of Hari afforded
them an opportunity of selecting even the technical terms
Minor schools of
grammar.
of grammar from these.
Caitanya founded a colony of learned men at Vrnda-
vana. ‘There in the seclusion of the forests they wrote a.
large number of works; principally on bhakti or devotion
to Hari, and commentaries on the Bhagavata, their standard
CxXll PREFACE.
work. But they did not neglect other branches of know-
ledge. They wrote Vaisnava smrti, history of Vaisnavism
and Vaisnava literature, not only in Sanskrit but in the
vernaculars also.
One of the principal followers of Caitanya, Rupa
Gosvami, left the service of Allauddin Husain Shah of
Bengal and became a sannyasi and a Vaisnava. Among
other works he wrote a grammar entitled Hari-nama-
mrta. His dictum was that the name of Hari taken
even in jest leads to heaven, so he thought of taking the
name of Hari through the means of grammar. His Hari-
namaimrta is mentioned by Raja Rajendra-lala Mitra in his
L.G.R. and the Raja had great opportunities of knowing
works on Vaisnava literature. But the Hari-nimamrta
vyakarana which is current even up to the present day was
by Riipa’s nephew Jiva Gosvami written about the middle
of the 16th century. His nomenclature is derived from the
names of Hari, for he would not say hrasva but Vamana for
it, the Dwarf incarnation of Hari; nor he would say dirgha
but Purusottama; he substituted Tri-vikrama for pluta,
So in reading the grammar one cannot help uttering the
name of Hari at every step. The Vaisnavas studied gram-
mar but they showed their devotion to Hari even there.
The Vaisnavas are so fond of this work that they made the
Calcutta Sanskrit Association adopt the Hari-naimamrta as
an optional subject in grammar for the examination of
Vaisnava candidates.
Raji Rajendra-lala Mitra says that the Vaisnavas of
Bengal had another grammar entitled Caitanyamrta, with
an anonymous commentary; and as I have said, the Raja
had great opportunities of knowing Vaisnava works (L.G.
R. p. 163).
PREFACE. CX111
Following the example of the Vaisnavas, the Saivas
made a grammar of their own, precisely with the same
object of taking the name of Siva while studying grammar.
It is Prabodha-prakasa by Vala-rama Pafticinana who,
Rajendra-lala thinks, was a Bengali and a Brahmana; but
the time and place of composition is not known. The book
has some karikas and some stitras. The vowels are desig-
nated Sivas, the consonants, Haras. the surds are Rudras,
sonants, Bhaga. The sandhis are divided into three sec-
tions, Sakti-sandhi-pada, Siva-sandhi-pida and Visarga-
sandhi-paida. It has Saktyanta-pum-linga-pada; Saktya-
nta-stri-linga-pida ; Sivanta-pum-linga-pada, Sivanta-
strilinga-pada. Colebrooke says this is an original work
not dependent on any particular system of grammar.
Many wealthy persons would not lke that their
children should study old grammars and should spend
much time in their study. So they directed their panditas
to write new grammars according to their direction. Thus
Many short treatises on grammar were written through-
out India. During the reigns of Jehangir and Shah Jehan
there was a Chauhan Raja at Patna, whose name was
Vijjala or Vaijala, and he had four parganas as his jaigir.
Following the example of Vidya-pati and of Vijjala’s
ancestor Vikramaditya, he got one of his panditas Jaga-
mohan to write a Sanskrit gazetteer of Eastern India entitled
DeSavali-vivrti. He had ason named Hira-dhara. Tor the
education of Hira-dhara in Sanskrit he wrote a short gram-
mar, entitled Prabodha-candrika, throughout in anustup
metre. His object was to preach the glory of Rama. It
has the following sections :—Vibhakti-candrika Tyadi°- ;
Karaka°-, Samasa°-, Taddhita-o; Sandhi’-.
Another such work is Bhava-simha-prakriya, an ele-
CX1V PREFACE.
mentary grammar by Bhatta Vinayaka, son of Bhatta
Govinda-siri written for the educa-
tion of Bhava-simha, the eldest son
of Medini-rat. The object of the grammar seems to be
the glorification of Rama. It takes the Siva-sitras of
Panini and many of Panini’s siitras with shght alteration.
Bhava-simha-prakriya.
Some of these grammars are declared to be elementary
by their names, such as, Druta-bodha, ASu-bodha, Sud-
dhasu-bodha, Sighra-bodha and so on.
The Druta-bodha has a history. During the 17th
century, there lived, at Patil-pada near Jamgi, in the
district of Burdwan, a very learned man of the Vaidya
caste named Bharata Mallika. His position in his caste
was very high. His ancestor was Hari-hara Khan who
obtained the title of Khan from the Sultanas of Ben-
gal. His father was Gauranga Malhk. They were all
physicians by caste and Bharata Mallika’s decendants
are to be found in Calcutta and its vicinity. Bharata
Mallika was a staunch follower of Mugdha-bodha. He
wrote commentaries on standard Kavyas called Mugdha-
bodhini. He wrote a grammar entitled Druta-bodha. Tt
was to all intents and purposes an abridgement of Muedha-
bodha. Rajendra-lala Mitra speaks of a commentary on it
by the author himself entitled Druta-bodhini (L.G.R., pp. 20
and 22). Not satisfied, even with this, he made even
a shorter abridgement, entitled Prasiddha-pada-bodha.
It is the shortest Sanskrit grammar that has yet come
to our notice. It was printed in the early part of the
19th century. As Mugdha-bodha was the grammar largely
studied on both sides of the Hooghly, Bharata Mallika
wielded very great influence, wherever that grammar was
studied. But in his Druta-bodha, Bharata Mallika did not
PREFACE, Cxv
scruple to take advantage of the neighbouring schools
of grammar, Katantra, Samksipta-sara and Supadma.
It was compiled under the patronage of Kalyanananda,
son of Gaja-malla and grandson of Trailokya-candra, a
local Zamindar, who claimed deseent from the Solar race.
Another abstract of Mugdha-bodha, was written by
Asubodha. Rama-Winkara Sarasvati. But it has
outdone Muedha-bodha in its mono-
syllabic nomenclature. Svara is named ca: hrasva is lu:
dirgha is ru; vowels proceeding from the same organ of
speech are named sa: ¢, ai, 0, au are collectively called ga ;
consonants from ka to ksa are vya; the vargas are ba;
and soon. It has siitras, it has karikas, and it has a vrtti
(1.0. Catal. 908).
The author is Ramesvara. Most likely it was com-
posed in 1701 A.D. It is an elemen-
S a “ sale
Suddhagu-bodhe Vyaka- tary grammar and does not use much
complicated grammatical nomen-
clature (1.0. Catal. 909).
Sighra-bodha by Siva-prasada takes help both from
Muegdha-bodha and MKatantra. Its
object is quick comprehension of gram-
Mar and a working knowledge of the language (1.0.
Catal. 910).
Sighra-bodha.
Jianamrta, by KasiSsvara son of Rama-narayana and
Bhavani was composed in Saka 1660
equal to 1738 A.D. It is an ordinary
elementary work of no special merit (I.O. Catal. 905).
‘ Jfiianamrta.
Pada-candrika is a metrical grammar with a vrth.
Be es sorke The author is Krsna, son of Sesa-
cOr Catal. 903). nrsimha-stri. His patron was Narot-
tama. The object of the work is easy comprehension of
Cxvl PREFACE.
young men of tender age. The author says that those who
study this work need not trouble themselves with the
stitras of Panini with the vrtti like Kasika,. istis by Patan-
jali, vartika by Katyayana and compilations of the Panim
schools. Is he the same man who wrote the Prakriya-
prakasa 7
Prakriyarnava in aphorisms and their explanations by
Madana-paficanana. ‘The author takes
help from Mugdha-bodha and Katan-
tra (1.0. Catal. 904).
Prakriyarnava.
Rama-narayana Bhattacaryya-cakravarti, son of
Krsna-rama has written an abridgement of the Samksipta-
sara entitled Karikavali. The author has included ksa jin
the alphabet, but he has not followed the arrangement
of subjects of that grammar. It is the arrangement of
Mugdha-bodha rather. He has separate chapters for cere-
bral sa and cerebral na. He has split up the conjugation
not according to the ganas but according to the changes
undergone by different members of the root, such as the
reduplication, expansion, etc. The author’s son Rama-
prasida writes a commentary on his father’s work (1.0.
Catal. 900-901).
During the early part of the 16th century, Yadavendra
Chaudhuri established a semi-independent Zamindari, at
Khana-kula about 50 miles to the west of Howrah. Taking
advantage of the wars between the Rajas of Orissa and the
Sultans of Gaud, he increased his influence and importance.
He induced Narayana Banerji to settle at Khana-kula bya
srant of land. Yadavendra had very nearly finished the
construction of an ornamental temple for Gopi-natha whom
he worshipped. But he could not consecrate the temple as
he was suddenly attacked by the Sultan’s army. But his
successor Vamésidhara, managed somehow to keep his
PREFACE. CxXVil
Zamindari intact. He had acourt in which N arayana was
the chief Pandita. Khana-kula was made something like
a seat of learning. Narayana wrote many works on
Smrti and he wrote a work on grammar entitled Sara-vali.
It was to all intents and purposes an abridgement of the
Namksipta-sira even in the arrangement of its subjects.
Parijata-vyakarana, an easy Sanskrit grammar in
anustup metre, is by Rama-hari. Of
elementary grammars, it is one of the
best. It has few nomenclature and no pratyahara. It
inclines rather to the Samksipta-sars
PérijAta-vyikarana.
Ratnavati is a metrical grammar for juvenile students,
in about 800 slokas, it goes over all the
topics of ordinary Sanskrit grammar.
Dipa-vyakarana is an elementary grammar with a few
short aphorisms. It has no samjia and
no pari-bhasa. It goes over the same
ground as the Mugdha-bodha. The author is a Sannyaisi,
named Cidripasrama, who styles himself a Parama-hamsa-
parivrajakacarya.
Ratniivati.
Dipa-vyakarana.
In L.G.R. page 132 there is a list of elementary gram-
Mars of which the following have no description.
(1) Ulka.
(2) Laghu-bodha.
(3) Divya.
; (4) Padavalli.
(5) Caitanyamrta.
(6) A commentary to 5.
Sometimes Panditas tried to impart a working know-
ledge of Sanskrit by means of conversation, and they have
written works in conversational Sanskrit.
Cxvill PREFACE.
(1) Girvana-pada-mafijari by Varada-raja Bhatta.
The scene is laid at Benares. The conversation is between
a mendicant and a householder. They talk about their
daily work in Sanskrit.
az] Aa alas WTA | wis afe weaaH | wR Ta | Af
arent wisardattar? waka atquama) aaa ate
aaa | wast oa gu ure, faa ore, aut ATS,
fanaa OTe, AeA DIE Tuts ATG |
(2) Pradipa by Kasi-natha. The scene is led at Hari-
pala, District Hughli. Kasi-natha received his education
in Hindu law and rituals from Rama-candra Deva-Sarma,
and in other subjects from Siddhanta-vagisa. He had
commenced teaching and took the conversational method.
of teaching grammar.
LEXICOGRAPHY.
Lexicographical works in Sanskrit may be divided into
three groups (1) synonymous (2) homo-
nymous (3) and dealing with genders.
But they often overlap each other and make it difficult to
distinguish one sroup from another.
Three groups,
Historically the lexicographical literature in Sanskrit
may be divided into three periods (1)
Pre-Amara, (2) Amara with its modifi-
cations, commentaries, and appendices (3) Post-Amara.
Three periods.
The oldest lexicography in Sanskrit is the Nighantu, it
ae is called Samamnaya, that is, it had to
Micharsn. be memorised by every Brahmin. It
is the outcome of the habit of ancient
Indian rsis of indexing. They indexed synonyms of
different things and animals and put them together; thus
was the Nighantu formed. It isa dry string of words with
no subjects or predicates. It has not been given even the
attraction of a versified form, it is in dull prose. It is
divided into five chapters. ‘‘ The first three being arranged
IN synonymous groups of nominal as well as verbal basis,
the fourth containing lists of inflected words whose meaning
are to be determined from the context and the fifth, lists
of different deities.”
. Yaska’s Nirukta is said to be a commentary on the
Nighantu. It gives the meanings and
derivations of vedic words, and in the
course of their explanation gives traditional, theological and
Yaska’s Nirukta.
CxKX PREFACE.
philological information of the highest value. It contains
12 chapters, divided into two groups, Purva-satka and
Uttara-satka. It has a parisista, too. Some divide it into
two chapters, others say that there 1s only one chapter.
Each chapter is divided into five to seven padas. The
number of khandas in the whole work is 480 and the
number of padas is 57.
The Bibliotheca edition of the Nirukta in 4 volumes
contains the text of both the Nighantu
and the Nirukta. Nighantu has the
commentary of Deva-raja Yajva, son of
Yajfieivara, native of a suburb of Rangesapuri in Daksing-
patha. As the author quotes from Bhoja, Ksira-svamj
and Uvata, he seems to belong to the 12th century. He
studied a large number of Veda-bhasyas current jin
Southern India and a number of works on Panini. He
seems to have supplied all that was wanting in Yaska’s
Nirukta in explaining the Nighantu. |
Commentary of Nighantu
by Devaraja Yajva.
The Nirukta in that edition is accompanied with the
commentary of Durgacarya. He
styles himself Bhagavat and says that
he lived in Jambi-margasrama. He
seems to have come after Deva-raja Yajva.
Durgacarya’s commentary
on Nirukta.
Yaska, the author of the Nirukta, seems to have
preceded Panini as his classification
of words is crude and primitive into
4 parts of speech, nama, akhyata, upa-sarga and nipata
while that of Panini is logical and refined, into subanta and
Tinanta. His idea of upa-sarga is very rudimentary. The
twenty particles pra, para, etc., have under different cireum-
stances received different names in Panini; when joined.
The age of Nirukta.
PREFACE, CXXI1
with verbs they are upa-sargas, when joined with nouns
they are called gatis, while modifying the inflections of
words they are called karma-pravacaniyas. These refined
definitions are not to be found in the Nirukta (see my
Magadhan literature p. 30). In Vedic literature upa-sargas
are often placed at a distance from verbs; all this shows
that Panini is posterior to Yaska. How much posterior, it
is difficult to say, but two hundred years, I think, would
not be toomuch. Yaska does not mention Panini, does not
use his nomenclature and does not know of the rules of
interpretation of siitras; while Panini derives the word
Yaska and rejects the theory of the Nirukta-karas that all
words can be derived from Sanskrit roots. In some cases
Yaska and Panini quote the same authorities, but many of
the authorities mentioned by Panini are not to be found in
Yaska.
After Nighantu and the Nirukta, come the group of
lexicographers, Vyadi, Katya, and Vara-
ruci. Vara-ruci’s Linga-vrtti is to be
found in our Catalogue No. 4629. The
work contains a number of stittras with their vrtti comment-
aries, the whole is attributed to Vara-ruci, but the sutras
Seem to be older. The work was spoken by Vara-ruci in
answer to a question by one of his students on the subject
of genders, which forms, as I have said before, the third
phase of lexicography.
Predecessors of Amara.
(1) Vara-ruci.
Jaya-simha’s work also treats of the genders of nouns,
but the author says it is written in the
Linga-varttike interest of young learners. I+ divides
by nouns into common nouns, and proper
Jaya-simha ; :
(Catal. No. 4630). nouns. All adjectives follow the
gender of the nouns, with the exception
CxXxXll PREFACE.
in a few.cases. Jaya-simha wrote this book for putting a
stop to irregularities and for the preservation of the
decided opinions of scholars.
The MS. of Linga-varttika was copied in the reign of
Vira-simha of Mithila in La-Sam 228. It was written on
fine paper and with excellent ink, sometimes with gold, by
Pasu-pati. Vira-simha’s date given here does not agree
with that given in Kirti-lata, La-Sam 253.
There is another book in our Catal. No. 4631, which
appears to be ancient because it refers
to Vara-ruci, Vyadi. and Bhaguri. It is
anonymous but the date of copying is La-Sam 3872 equal to
about 1486 A.D.
Nama Lingam.
Ramavatara Sarma, -in the introduction to his edition
of Kalpadru, says “It would appear
from the above that in the opinions
of Sarvananda (1159) and Ksira-svamin (llth century)
Vyadi, Vara-ruci, Bhaguri, and Dhanvantari among the
authors, and the Tri-kanda, the Utpalini, the Ratna-kosa
and the Mala among works, preceded Amara and his work,
Katya or Katyayana and Vacas-pati, too,
to have preceded Amara”’.
Vyadi and others.
The same authority quoting a couplet from Harg-vali
says that Sabdarnava, Utpalini and Samsaravarta are res-
pectively the kosas by Vacas-pati, Vyadi, and Vikramaditya.
Vyadi’s kosa seems to have been arranged like the Amara-
kosa in synonymous groups with a chapter on homonyms
(see his introduction to Kalpadru Kosa p. xi). The kosa
seems to have been a part of Vyadi’s voluminous work, the
Sameraha, in 100,000 verses of 32 syllables each. Vyadi
PREFACE. CXNXlil
seems to have been acquainted with Buddhist theology and
he often tries to give the meanings of words through
derivation.
Many ancient authorities consider Katya, Katyayana,
and Vara-ruci as synonymous. But
R. Sarma thinks that Katya and Vara-
ruci are different persons, one wrote a complete kosa and
the other only the LinganuSasana. The name of Katya’s
kosa seems to have been Nama-mala.
Katya.
R. Sarma says ‘‘ According to Autrecht, Bhaguri’s kosa
was most probably the Tri-kanda which
is often quoted’’ and he seems to
incline to accept this view. This Tri-kanda, of course, is not
Amara-koga which also has three kandas.
Bhaguri and Tri-kanda.
R. Sarma says “That the Ratna-kosa was divided
according to Sarvananda, (page xiv)
into sections after the genders. It
was synonymous, any word with a different gender trom
the rest of the section having been distinguished either by
a special word or definition’. But we have a MS. of
Ratna-kosa, 4703 A, in which the name is preceded by
Vastu-vijfiana. It is an enumeration of things of definite
numbers. It begins in the style of old stra works “ Ratna-
kosam vastu-vijhanam vyakhyasyamah ”’. It has one
hundred sutras. But in the enumeration of countries and
of the dynasties ruling in India, there are many hames
which do not appear to be very old.
Ratna-kosa.
Amara-mala, known only in quotations, appears to be
another ancient work, as Halayudha
Amara-mala. A
in the 10th century seems to quote
from it.
CXX1V PREFACE.
Vacas-pati’s kosa is most probably Sabdarnava. It
gives as many synonyms together as
Vacaspati’s Kosa, : igi ins ;
oe possible and gives different spellings
or forms of the same word.
Dhanvantari seems to be another predecessor of Amara.
He wrote a medical Nighantu in 9
chapters. It gives also the medical
virtues of drugs and is the basis of all later medical
Nighantus.
Dhanvantar!.
Wilkins found an inscription at Bodh Gaya of Amara-
deva dated 581 A.D. But the inscrip-
tion has been lost, and it is doubtful
whether the Amara-simha and the
Amara-deva are one and the same person. Amara’s work
is entitled Nama-linganu-sasana. It has three kandas
divided into twenty-four vargas containing altogether 1503
verses unequally distributed. In the preamble it gives
the pari-bhasas of the dictionary. Each group of syno-
nyms is either preceded by ‘atha’ or followed by ‘tu’,
The homonymous portion is arranged after the final conso-
nants. Avyayas form a separate varga. The book ends
with certain general rules for determining genders, so it is a
complete kosa giving all the three phases, homonyms,
synonyms and genders. ‘There are altogether 1503 verses
in the work (Madras ITI, p. 1129).
Amara-kosa.
Its modifications.
Lassen says that it was translated into Chinese prior
to the 6th century A.D. The earliest quotations from this
work is to be found in Nyasa of Jinendra-vuddhi, which has
been placed by its editor between 725 and 750 A.D.
Amara seems to have cast all previous kosas into shade
and they have gone out of currency.
PREFACE. CXXV
In our present catalogue there are two works which
may be considered as supplements to the Amara-kogsa, viz.,
Catal. Nog. 4653 and 4655, the first is Tri-kanda-Sesa by
Purusottama-dev: and the second Mukta-vali or Visva-
locana by Sri-dhara, the son of Muni-sena. Tri-kanda-sega
has been several times printed. The author like Amara
was a Buddhist. Amara cives 17 names for Buddha and
five for Sakya-muni but Purusottama adds thirty-seven
more names for Buddha and three more names for
Sakya-muni. During the centuries between Amara and
P urusottama, Buddhism developed several Yanas, and
the words given currency to by these Yanas, have all been
given by Purusottama and not by Amara. At the end,
P uWusottama says that words in constant use only are
recorded in this work. Obsolete and obsolescent words,
though found in Panini and others, have been neglected.
There is a MS. (No. 4654) of this work in our cata-
logue in which names in a string of synonyms are
Separated by comas or slanting strokes. Groups of
Synonyms are separated by two such strokes which
Serve the same purpose as semi-colons, but unfortunately
the MS. is a mere fragment. The author of the
Vi8va-locana says, at the end of his long preamble,
that Amara has woven a silken cloth and the author is
Setting pearls in that cloth. These pearls he has collected
from great poets of the intervening ages. The author
belongs to the Sena family. His father Muni-sena was profi-
cient in Nyaya-sastra. The author Sridhara seems to have
been a Buddhist, because in the eighth verse of the
preamble he says that he has placed himself unreservedly
at the feet of Buddha. His father seems to have renounc-
ed the world and made world participator of his wealth,
The words are arranged in alphabetical order of the begin-
ning and of ka, etc., at the end.
CXxXvi1 PREFACE.
Sesamara mentioned in Vol. III, page 1218-19 a
Rangacari’s Catal. of Sans. MSS. in the Govt. Oriental
MSS. Library, Madras, is another supplement to the Amara-
kosa. The name of the author does not appear there, but
it adds many words and gives supplementary rules tor
genders of words.
Amara-khandanam by Sri-harsa, most likely the author
of the Naisadha-carita, 1s 2 severe
criticism of the Amara-kosa. It criti-
cises the genders of words. A synonym of gold is Jambua-
nada. Amara puts it down as neuter gender, but Sri-harsa
points out that it is used in masculine gender also. The
writer says that the exposure of Amara-simha’s mistakes.
will be made enjoyable in this work, though it is a very
short one of 11 leaves only (the same Catal. Vol. IIT,
oer LL),
Criticism of Amara.
Of the commentaries on Amara-kosa, and there are
scores of them, four are most im-
portant. Of these (1) Amara-kosod-
chatanam by Ksira-svami was written in Kasmira in the
llth century (?). (2) Tika-sarvasva by Sarvananda Banerji
written in Western Bengal in the year 1159 A.D. (3) Pada-
candrika by Raya-mukuta at Gauda, in 1431 A.D., and
(4) Vakya-sudha by Bhanuji-diksita who aiter renoun-
cing the world obtained the name Ramasrama at Myhivzi, in
Baghelkhand, about the beginning of the 17th century.
al
Commentaries.
All the four are very learned works quoting from a
large number of authorities in support of Amara’s state-
ments. Ksira-svami was a Sabdika of the first water.
Besides the commentary on Amara, he has written learned
works on Sanskrit roots and Sanskrit particles. His Loe
PREFACE. CXXVIE
was a matter of conjecture but R. Sarma has pointed out
that he has quoted from Bhoja, and so he comes at the end
of the 11th century, and he is quoted by Vardhamana in
his Gana-ratna-mahodadhi in 1140 A.D.
Sarvananda Banerji wrote his work in Western Bengal.
but the MSS. of his work have generally migrated to
Southern India and it has been published in the Trivendrum
Series, The only MS. of the work in the Asiatic Society’s
library is in Oriya character. It is reported that the
Dacca University has got a copy in Bengali character. If
SO, 1t will help greatly in deciphering the numerous Bengali
words which the commentator has used to explain Sanskrit
words given in Amara. These Bengali words coming
through Tamil, Malayalam, Telegu and Oriya are hard to
decipher and Bengali scholars are at great difficulty, some
deciphering in one way and others in another. Sarvananda
quotes from about twenty Buddhist works in his comment-
ary. Inthe preamble he says that he has studied ten com-
Mentaries on Amara-kosa and at the end he says that he
Studied three systems of grammar, looked into all works
in poetry, listened with attention to wise teachers and
his commentary has been corrected word for word and
letter for letter by Sanatana.
Vrhas-pati, a descendant of the five Brahmanas brought
by Adistira to Bengal, belonged to Vatsya-gotra and the
family settled in the village of Mahinta and therefore called
Mahintapaniya. He was one of the prominent figures in
Bengal in the beginning of the 15th century. At that time
a dynasty of Bengali Kayasthas, wrested the Sultanate of
Bengal from the Muhammedans and reigned for forty years,
though the second Sultan of this dynasty married the heiress
of the old Ilias-shahis of Bengal and became a Muham-
CXXVII1 PREFACE.
medan. The Tomb containing the remains of Asman-tara
the heiress, of Yadu or Jalaluddin, and of his brother
Ahammad is one of the most prominent buildings to be
seen at Hajrat Pandua, in the district of Malda. Though
converted to Muhammadanism, the Sultans of this dynasty
brought about a revival of Sanskrit and Bengali studies,
and Vrhas-pati Mahinta led this revival. He wrote com -
mentaries on standard works on kavya, a commentary on
the Amara-kosa entitled Pada-candrika and a Smrti Worl:
entitled Smrti-ratna-hara. He was given the titles of Kavi
cakra-varti, Raja-pandita, Acarya-varyya, Pandita-saryas _
bhauma, and Kavi-pandita-ciida-mani. While Siving hin
the title of Raya-mukuta, the king made him ride on an
elephant, bathe on it in a variety of ways according to the
sastras, gave him the title of Raya-mukuta, two umbrellag
horses, a jewelled necklace brilliant with the rays of gems.
two bright ear-rings and ten trmilkas set with many Precions
stones covering the ten fingers of the hands.
His father was Govinda and his mother wags Nila-
mukhai-devi; his wife was Rama who was dead at the time
of writing the commentary. He had many sons two of
whom are named Visrima and Rama; they were all Poets
who defeated the victorious in controversy, they Were
writers of many works in a variety of Sastras and they
made great gifts such as “ Tula-purusa, Brahmanda and
many others”. The Sultan of Gauda gave him the title o5
Pandita-sarva-bhauma. In his commentary on Amara he
has embodied the substance of 16 previous commentaries
He consulted many authorities of whom more than ten
were Buddhist.
Bhanuji Diksita’s commentary also consults a large
number of authorities but he, true to the traditions of hig
; &
PREFACE. CXXIX
family, supports the orthodox Brahmanic views of Panini’s
interpretations as against the Buddhist.
Another commentary to the Amara-kosa is Manorama
(Catal. No. 4661), the MS. itself is dated Saka 1540 and it
contains the horoscope of two of the sons of the owner
dated Saka 1551 and 1562. Abhidhana-bodhani is a com-
mentary on Amara-kosa by Laksmi-dhara, Catal. 4662.
Piytisa, another commentary by Rama-krsna Dilksita,
son of Govardhana Diksita, is composed in Samvat 1694
and based principally on Rayva-mukutas commentary
(Catal. No. 4168).
Padartha-kaumudi is by Narayana Cakravarti (?) later
than Raya-mukuta whom he quotes, consults about 64
previous works (Catal. No. 4669). It was composed in
Saka 1570.
Pada-mafijari is another commentary on Amara-kosa
by Loka-natha Sarma who appears from his mangalacarana
to belong to the Caitanya sect. He may be the same Loka-
natha Cakravarti who commented on the Ramayana and
other works.
Mugdhabodhini is by Bharata -Mallika (Catal. No.
4673), who is senerally regarded as belonging to the
beginning of the 18th century, but who as Mr. R. Sarma
points out, is quoted by Durga-dasa-vidya-vagisa in his
commentary on the Kavi-kalpa-druma in 1639 A.D. The
Commentator follows the Mugdha-bodha Vyakarana.
Lingadi-samgraha-tippani or Tri-kanda-rahasya-pra-
kaga or Tri-kanda-viveka is by Rama-natha-vidya-vacas-
itis
Cxxx PREFACE. :
pati (4677). In the beginning the commentator mentions a
large number of authorities from whom he quotes.
Ratna-mala is by RatneSvara Cakravarti (4681). ‘
Amarodyota by Purusottama Tarkalamkara quotes
from 29 works (4682).
Pancayatani-vyakhya (4687). It is called Paficiyatani
because it gives five different interpretations to the
mangalacarana of Amara-kosa.
Sabdartha-sandipika is by Narayana Nyaya-paficanana
(1.0. 964). He boasts that he is the Pandita for Amara-koga
ys
Bhatti, and Samksipta-sara. ‘?
Sara-sundari is by Mathuresa vidyalamkara- -bhatta,
son of Siva-rama Cakravarti. he commentator gs Says that
Raya-mukuta wrote his commentary according to Kalapa
so he is writing it according to the Eeveitom, Vyakarana
(I.O. 968-70).
In the assembly of the Brahmanas of Radha held at
Ayeda near Kalna, Sarvananda Banerji of Napadi became
the head of an endogamous group of Brahmanas named
Sarvanandi-mela. His son was Madhava. Madhava’s son
was KaSi-natha. Kasi-natha’s son was Candra Banerji;
his son was Siva-rama. Siva-rama’s son was Mathuresa
Vidyalamkara who wrote this commentary in Saka 1588.
equal to A.D. 1666. So there were six generations between
1482 and 1666. He does not seem to be the same Mathu-
resa who wrote Sabda-ratnavali under the patronage of
Masananda Elli Khan.
PREFACE,
Laksmana Sastri, son of ViSveSvara Sastri and Bhavani
who lived at Kasi, wrote a short commentary on Amara-
koga for the benefit of the people of Karnata (I.0. 972),
CXXN1
Nayanananda Sarma writes the Amara-kosa-kaumudi
in which he gives the same passage from Raya-mukuta’s
Pada-candrika,—xatat 4 WATS {3x8 Without any indication
of its being taken therefrom (I.O. 982).
Samanta-sara is a place in the district of Faridpur
inhabited chiefly by Vaidika Brahmanas. A resident of
the place named Raghu-natha Cakravarti wrote at the
instance of Krsna-vallabha a commentary on the Amara-
kosa entitled Tri-kanda-cintamani (1.0. 984). Raghu-
natha has quoted from various kosas and tried to show
that they mean the same thing.
Rama Tarka-vagisa’s commentary on the Amara-kosa
is given in I.O. 985. It is suited to the capacity of young
men of tender age. R. Sarma says, in his Introduction,
page xxi, that this commentator follows the Kalapa system
of grammar and so he is not the same Rama Tarka-vagisa
who wrote a commentary on Mugdha-bodha.
Sesa-giri Sastri, in his report for the year 1893-94, says
under No. 12 that Linga-battiya is the latest of the
commentaries on the Amara-kosa and is most copious and
useful. From the third kanda of the commentary only
the Sastri gives the number of authorities quoted as 171. In
Sarvananda (1159), Raya-mukuta (1431), and in Linga-
bhattiya the number of Buddhist authorities becomes
beautifully less and less. .
R. Sarma, in p. xxi of his Introduction, says that
Tri-kanda-cintamani of Raghu-natha Cakravartin and
CXXxXIl PREFACE.
Amara-viveka by MaheSvara are the two latest com-
mentaries.
The lexicographical works after Amara may he divided
i wo great periods Bh ra.
Kosas after Amara. into Gwo great periods (1) from Amara
to Medini (2) from Medini to the pre-
sent day.
Anekartha-samuccaya by SaSvata is a homonymous |
7 2X] OO verses divided i —_
de lexicon in 800 verses clivided into six
sections. ‘The fifth and sixth are de-
voted to indeclinables. The writer says at the end of
his work that learned men like Khudula, the courtier of
Vidya-vilasa looked carefully through his work which was
done in consultation with the poet Maha-vala and Varaha,.
as his treatment of synonyms is fuller he seems to have
come after Amara. Ksira-svami quotes him.
Abhidhana-ratna-mala by Bhatta Halayudha follows
the Amara-kosa. Jt has four kandas
Svarga, Bhimi, Patala and Simanya,
and a fifth dealing with homonyms and indeclinables.
Halayudha belongs to the middle of the 10th century, He
wrote a commentary on Pingala at the court of Muiija
of Dhara. He wrote the Kavi-rahasya, a work on Sanskrit
roots in honour of King Krsna-raja IIT of the Rastra-kita
family. All his three works are still regarded as authorita-
tive.
Halayudha.
Yadava-prakasa was the preceptor of Ramanuja. He
was a very learned man. But in his
old age he became a disciple of his dis-
ciple, gave up the Advaita-vada of Sankara and became a
Vaisnava of the Ramanuja school. He seems to have
Yadava-prakasa. °
PREFACE. CXXNIll
flourished in the middle of the llth century near Kajfici-
pura. His dictionary named the Vaijayanti is still regard-
ed as an authoritative work. The Synonymous section
of his work is divided into five kandas, Svarga, Antariksa,
Bhimi, Patala, and samanya, and the homonymous section
into three
(1) words of two-syllables,
(2) words of three-syllables, and
(3) words of many syllables.
EKach kanda is divided into many adhyayas. It arranges
words in the homonymous section in alphabetical order
of the initial letters.
Vi8va-prakaSa is a homonymous work arranged accord-
ing to the final consonants, words end-
ing in certain consonants are sub-divid-
ed according to the number of syllables they consist of. Thus
we have titles 6f chapters, Kaikakam, Ka-dvikam, Ka-
trikam, etc.
Vi8va-prakiSa.
The work was written in 1111 A.D. The author was a
Buddhist because his mangalacarana though it does not
mention Buddha is fully Buddhistic. His father renounced
the world and made all sentient beings participators of
his wealth. This is done only by Buddhists and not by
Brahminists. One of his ancestors was Hari-candra, a com-
mentator of Caraka, who was the chief physician of King
Sahasinka, another of his ancestors was the chief physician
of the king of Kanoja. He gives a long description of
his ancestors but the description seems to be a bit confused.
Modern writers have placed various interpretations on it.
The author wrote a poem entitled Sahasanka-carita. The
family was distinguished for their medical skill and their
learning.
CXXX1V PREFACE.
The author seems to have belonged to Kastern India
where va and ba are similarly pronounced and where little
distinction is made in the pronunciation of the three
sibilants Sa, sa and sa. This is not the case in middle
India and in other parts of India. The author has a sup-
plement to his Vis8va-prakasa named Sabda-bheda-prakaga,
which among others have two sections Vakara-bheda and
Usma-bheda. Mahesvara admits the compound letter ksaq
in the Sanskrit alphabet. ‘This is rarely done by brahmins.
The dictionary has a commentary called Visva-nighantu by
Paramesvara Bhatta, but Mss. of the commentary come
from Southern India.
Mankha, a resident of KaSmira, wrote a homonymoys
dictionary entitled Anekartha-koga,
Like ViSva-prakasa, it 1s arranged jn
the alphabetical order of the final con-
sonants, each consonant having several sections accord-
ing to the number of syllables in the word. Mankha algo
takes ksa as a part of sanskrit alphabet. A commentary on
Mankha is still extant. It may be either by himself op
by one of his immediate pupils. It has been quoted by
Mahendra Suri, the commentator of Hema-candra. The
lexicographer 1s said to be the same person who wrote the _
Sri-kantha-carita published in the Kavya-mala Series, J
was written during the reign of King Jaya-simha of Kasmira :
1128-1149, (our Catalogue No. 4710).
Anekartha-kosa or
Mankha-kosa.
Anekartha-dhvani-mafijari by Maha-ksapanaka of
, . Kasmira. It is divided into four
ke cities Scheslegaln parts. Slokadhikara, Ardha-slokadhi- |
Bccainien. kara, Padadhikara, Ekaksara-paida,
| Rajendralala Mitra speaks of another
chapter called Sabdadhikara. There are several works of
PREFACE, CXXXV
this name, some are anonymous. That by Gada-simha
has been given later.
Nanartharnava-samksepa is by IWeSava-svami, an
othicer of Rajaraja, the son of Kulot-
tunga Cola. Rajendra Cola established
many Agra-haras or brahmana settle-
Ments for the residence of learned men with the super-
human power of rsis. One of these Agra-haras was
dedicated to the Mahesvaras or worshippers of Siva. It
Was regarded as the crest.jewel of the prosperous empire.
It was named after Rajendra Cola. In that Agra-hara
lived KeSava-svami, a professor of Sama-veda and be-
longing to the Vatsya-gotra and he was an employee of
the king. One day the king ordered Kesava-svami to
Write a book in which the gender of words can be easily
asecertained. It should be divided into six kandas with
Words of one, two, three, four, five, and six vowels each
and each kanda should be divided into five chapters,
Treating of feminine, masculine, and neuter genders, as
Well as, genders of adjectives, qualifying nouns, and of
Nouns of many genders. The words should be arranged
*Ccording to initial letters. So KeSava-svami wrote this
“Normous dictionary consisting of nearly 5,800 verses. The
Work is written in the same plan as the Vaijayanti of
) adava-prakasa. He quotes from about thirty authorities
Vand treats of the Vedic words also.
Nanartharnava-sa nksepa
by kesava svami.
It is difficult to ascertain the date of Kesava, though
‘te was an officer of Raja-raja, the son of Kulottunga,
€Cause there are two Raja-rajas, both sons of Kulottunga,
ne in the 12th and the other in the 13th century. So
Mu, Gana-pati Sastri left the matter open by saying that
\eiava might belong to either of these reigns. But the
ast Raja-raja was defeated and imprisoned by the Pallavas
CXxXXV1 PREFACE.
while the first Raja-raja was a conqueror and was an enemy
of the Vaisnavas belonging to Ramanuja sect. He revoked
certain grants to the Mahesvaras because they showed a
leaning towards Vaisnavism. I, therefore, place KeSava-
gyami in the reign of Raja-raja I about 1160 A.D. (p. 84,
of the annual report of South Indian Epigraphy for the
year ending 3lst March, 1925).
Two most. prominent men in the department of lexico-
sraphy of this sub-period are undoubtedly Purusottama-
deva, a Buddhist, and Hema-candra, a Svetambara Jaina,
Purusottama has been mentioned as the author of the
Bhasa-vrtti in the grammar section of this preface, and
his Tri-kanda-Sesa has been mentioned in connection with
the supplements of the Amara-kosa. He wrote another .
lexicon named Haravali, treating of uncommon words in
278 verses divided into two groups, One synonymous and
the other homonymous. The synonymous group extend
over a full verse, a half verse, and a quarter verse. The
other group in three sections, half verse, quarter verse, and
a single word. Purusottama seems to have taken very
great care in writing this small work of obsolescent words.
In one place he says he had to remain a guest of Dhrti-
simha for twelve months, and in another, he says that
Janamejaya and Dhrti-simha, both helped him in writing
this work and all experienced poets know how much
trouble has been taken for this kosa. It took Him twelve
years to write this rather very useful work. He says
in verse 273, that the Kosa Sabdarnava is by Vacas-pati,
Utpalini by Vyadi, and Samsaravarta by Vikramaditya.
He has taken the substance of these and other works in
preparing the Haravali. In this work the author salutes
Maha-deva in the opening verse and names Buddha no-
where.
PREFACE. CXXXVll
Sesa-giri Sastri has pointed out in page 41 of his report
for 1893-94 that when writing Tri-kanda-Sesa, Purusottama
had not the title of Mahamahopaidhyaya. That title was
conferred on him before the Haravali was written.
The other great writer of this period is Hema-candra.
IT have given an account of him in the
erammar section of this preface. In
lexicon, he has written four works.
Hema-candra.
(1) Abhidhana-cintaémani which has been printed in
YaSo-vijaya-jaina-grantha-mala, and a description of the
book and of its commentaries has been given by R. Sarma
in his Introduction, page xxxviii.
(2) Anerkartha-samegraha, edited at Vienna, consisting
of 1829 slokas divided into six kandas after the number of
syllables, to which is added a supplementary kanda on the
avyayas. In each kanda the words are arranged in two-
fold alphabetical order. First after the final consonants,
Second after the initial letters, so that it becomes almost
as easy to find out a word here as in a modern dictionary.
The genders are not noted. They are to be learnt from
the author’s LinganuSasana. To this work there is a
commentary by Hema-candra’s pupil Mahendra Suri who
Out of respect for his guru, ascribes it to him.
(3) The third work is Nighantu-Ssesa, which is a Botani-
cal supplement to his Abhidhana-cintamani—“ It consists
of 396 slokas divided into six kandas, vrksa, gulma, lata,
Saka, trna, and dhanya’’—Introduction, R. Sarnia. L.
(4) The fourth is DeSi-nama-mala, a Prakrta dictionary
in which the author has utilised the Paiyalacci, a Pali
CXXxXVIill PREFACE.
dictionary. Hema-candra’s work deals with only Desi
words as opposed to Sanskrit words and its derivatives
(tad-bhava, and tat-sama). It is divided into 8 chapters
called vargas and the words are arranged after the initial
letters and the number of syllables. Homonyms are placed
just after words of one meaning beginning with the same
letter and there is a commentary by the author himself.
Medini’s lexicography is called Nanartha-Sabda-kosa,
Its date was hitherto considered to be
between Visva-prakasa in I111 A.D.
which he quotes and Raya-mukuta who quotes him. But
Mr. R. Sarma has pointed out that Malli-natha and Padma-
nabha also quote from Medini and they both belong to the
last half of the 14th century. Medini’s authorities are
almost the same with those of Sarvananda (1159 A.D.). Hig
date thérefore should be somewhere between 1159 and 1350,
and if the quotation from Medini in the commentary of
Mankha’s kosga is genuine Medini must have flourished
in the earlier half of this period.
Medini-kosa.
Medini Kara describes himself as the son of Prana Kara
who was the ruler of the Northern provinces of the Udisya
kings of the Ganga dynasty. The capital of his province
was an inland town. Medini Kara removed it to a place on
the Kasai where he founded a city after his own name;
that city is still an important town in Bengal and is called
Medini-pura. (I.B. and O.R.S. Gazetteer literature of
Bengal, Vol. IV, 1918, p. 16.).
There are two estimates of the worth of Medini-kosa.
Aufrecht says ‘‘ The Visva-prakaga is quoted, pilfered, and
_abused by Medini Kara’’, while Sesa-giri Sastri speaks of
Visva-prakasa in desparaging terms and extols Medini-
-
PREFACE. CXXXIX
kosa. He says, ‘“‘It is very copious, containing all words
according to their final letters as Kanta, Khanta, etc., and
each of these groups is arranged according to the number of
syllables, as monosyllables, dissyllables, trisyllables, etc.,
and again according to the order of initial letters. Of all
the works of the kind I have seen, this is the best. The
author gives a list of lexicographers and other authors
whom he has consulted and very rightly condemns the
Visva-prakasa of Mahe8vara which he includes in the list
as a work of many defects in the following passage :—*‘Apl-
vahu-dosam Vi8va-prakaSa-kosam ca suvicarya”’ pp. 42-43
of his report for 1893-94. Again in page 47, ** whatever may
be the boast of the author about the merit of the lexicon
(Vi8va-prakasa) the work has one defect, namely, that the
genders of the words whose meanings are given are not
Mentioned and the words are not properly arranged. These
are the defects which were carefully avoided in the Medini-
kosa, and the author of that work very fitly condemns
Visva-prakasa.”’
During this sub-period, there were written a number of
lexicographies by various authors who are known only
from quotations in Sarvananda, Hema-candra, Mahesvara,
Medini, Halayudha, and other writers of the 12th and 13th
centuries A.D. R. Sarma gives the names of thirteen of
these works of which there are MSS. of three only. The
others are mere names still, but they are historical names as
quotations from them occur in authentic works. (No. 8
para 12 of his Introduction.)
Of the three works of which MSS. exist,-Nanartha-
sameraha by Ajaya-pala is a homonymous vocabulary,
which begins with a salutation to Buddha, contains 1730
words based generally on the Sasvata-kosa. The avyayas
exl PREFACE.
are not collected at the end of the whole book as in other
kosas but placed at the end of each chapter. ~The second
is Nama-mala of Dhanaftjaya, a lexicon of synonymous
terms. The author seems to be a Digambara Jaina. He
refers to Akalanka and Pujya-pada, both Digambara
Jainas. He says he has written only two hundred Slokas.
Dhanafijaya’s Nama-mala seems to be very popular in the
Karnata country as there are commentaries on it in Kana-
rese. This is given in pp. 1612-1615 of the Madras
Catalogue, Vol. III. But in No. 1616, there is another work
attributed to the same author. The work is entitle
Nighantu-samaya in two paricchedas. The first pariccheda
is the same as the Nama-mala but the colophon of that
pariccheda is peculiar, “‘ Iti Dhanafijaya-krtau Nighantu-
samaya - Sabda - samkirna - phaniti prathama - paricchedah
samaptah. The second pariccheda also has a colophon =f
wagaadn frat axaneagiavedd fedta: ufese: | The
two paricchedas contain altogether 251 verses. Burnell
speaks of a work by Dhanafijaya in three sections ;
(1) Sabda-samkirna-riipana.
(2) Sabda-samkirna-prartipana.
(3) Sabda-vistirna-riipana-pariccheda
Dhanafijaya is said to have written a kavya entitled Dvi-
sandhana-kavya, in the year 1123 A.D.
The third work of this list of which MSS. exist, ig Dha-
rani-kosa or Anekartha-sara arranged after the final con-
sonants and the number of syllables. He includes ksa in
the alphabet like most non-brahmanic writers.
I refrain from giving the names of the other ten
works of this list as we know nothing about them except
that they are quoted.
PREFACE. exli
In the Madras Catalogue, Vol. III, page 1170, on
grammar, lexicography, and prosody, mention is made of a
dictionary by maha-kayvi Kali-dasa and the cataloguists
puts down the name as a Kali-dasa. The work is entitled
Nanartha-sSabda-ratnam. R. Sarma has but slightly noticed
this in the para 18th of his introduction. I want to give it
@ prominent mention for the following among other reasons.
Kali-daisa, in his Raghu-vam8a, makes his salutation to Siva
in the form of half man and half woman. This work also
begins with a similar salutation to a deity white in the right
and not white in the left. The second reason is that it has
been commented upon by Nicula-kavi Yogi-candra. Malli-
natha says in his commentary on the 14th verse of the
Megha-dtta that Nicula was a friend of Kali-dasa and that
Din-naga was his enemy. The commentator Nicula says,
that he is writing the commentary because the author
Kali-dasa is his friend. Another reason is that [<ali-dasa in
this work says that he writes the book that people may easily
understand words and their meaning without much trouble,
because at present without studying the Maha-bhasya and
other works none can understand the meaning of words
mentioned by Panini, Sakti, Candra, Sarya, and Indra.
The commentator says that these are the five authorities
who settled the forms of words.. But Kumara does not
do it.
Against these reasons, there is one which will throw
doubt on the authorship of Kali-dasa. In the colophon
of the tika, named Tarala, Nicula says, that he has been
encouraged to write the commentary by King Bhoja. But
he does not spgak of Bhoja, as the King of Dhara, but only
as Maharaja-siro-mani. There is another reason against the
assumption that Kali-dasa is the author of this kosa. He
was certainly a Brahmanist and depended on Panini and
exlil PREFACE.
others for the correctness of words. But in his colophon
in this book he includes ksa in the Sanskrit alphabet.
Madras Catalogue, Vol. III, page 1186ff. makes mention
of another dictionary or kosa by Vara-ruci who was
honoured by Vikramaditya. Like other Vara-ruci's diction-
aries it treats only of genders. But it is in verse.
The commentator who is nameless refers in the preamble to
Jaimini-kosa-sttra, to the opinions of Katyayana and
Vyasa to the declarations of poets, Sankara, Ananda and
others, to Dandin, Vatsyayana, andSasvata. The kosa and
the commentary extend over 41 pages, so the kosa must be
a very short work of ninety verses in all and at the end
Vara-ruci declares that what is not mentioned here is to
be understood from usage. The colophon gives the name
of the work as Linga-visesa-vidhi.
I draw special attention to these two works attributed
to two of the nine gems of the Court of Vikramaditya, one
on homonyms and the other on genders.
The late lamented R. Sarma, in para 16 of his Intro-
duction, gives a list of twenty-three
kosas in Sanskrit written before the
establishment of British rule in India. His descriptions are
short and he says these are less frequently quoted and not
regarded as authoritative. But the history of some of them
is interesting and so I give his list in full and add what new
historical information I could glean.
Kosas after Medini.
(1) Sabda-ratna-pradipa—perhaps the same as Kalya-
na-malla’s Sabda-ratna-dipa. It was composed in 1295 A.D.
(2) Apavarga-nama-mala or pafica-varga-parihara-
nama-mala—author Jina-bhadra Stiri, a favourite disciple:
of Jina-priya. His date is 12th century.
PREFACE. oxliii
(3) Sabda-ratnakara by Mahipa, the homonymous
section has a different name Nanartha-tilaka—date 1374.
(4) Bhivi-prayoga by Padma-nabha-datta the founder
of the Supadma school of grammar. (See grammar section
of this Introduction.) The synonymous portion is short but
latter end of the
the homonymous portion is long, date,
Mithila.
14th century, place,
(5) Sabda-mala by RameSvara Sarma, written on the
model of No. 4.
(6) Nanartha-ratna-mala of Irupaga-dandadhinatha or
Bhaskara. He was the younger brother of Raja Harihara I
of Vijaya-nagara. His name does not appear. Bhaskara is
the name perhaps of the pandita, who assisted him in
preparing this dictionary. It was composed during the
latter half of the 14th century. It is curious to note that
Sayana and Madhava, though they wrote on various
branches of Sanskrit literature, never attempted lexico-
graphy, perhaps, because a royal prince had undertaken it.
These princes whose administrative work sat rather lightly
on them, often employed their leisure in the pursuit of
literature.
(7) Abhidhana-ratna by Jata-dhara. Aufrecht says,
the author was earlier than Raya-mukuta. The work is
modelled on Amara-kosa, but gives in many places addi-
tional information. The author’s father was Raghu-pati
and mother Mandodari. He belonged to the Dindi gai.
He lived at Deva-kada, near Chittagong, on the Pheni river,
which flows from the Chandra-natha hills (1.0. 1080).
(8) Anekartha-dhvani-mafijari in 88 Slokas. The
author is Gada-simha, who seems to be earlier than Raya-
cexliv PREFACE.
mukuta. Gada-simha wrote many books and commentaries.
A fragment of his commentary on Bharavi is to be found
in my ancestral collection. Raghu-nandana quotes from him
during the middle of the 16th century. Gada-simha quotes
Rudra, Ganga-dhara, Dharani, and Ratna-kosa.
A dictionary of the same name by the Maha-ksapanaka
of Kasmira has already been mentioned. That book con-
tains 320 verses.
There is another work of the same name in I.O. 1029
and 30, which contains slokadhikara 92 verses; Ardha-
Slokadhikara 69 verses; Padadhikara 19 verses; and a
fourth chapter containing 43 verses. Many of the verses
are identical with that of Maha-ksapanaka. The author's
name does not appear.
(9) Ripa-mafijari-nama-mala by Rupa-candra eom-
posed in 1588, according to Bhandarkar’s Report for
1883-84 p. 60.
(9a) Sighra-bodhini-nama-mala by Pundarikaksa-vit-
tala who flourished in Akbar’s time.
(10) Saradiya-nama-mala by Harsa-kirti, a Jaina
monk at the end of the 16th century. It has a commen-
tary named Sruta-bodha by the author himself written in
1624,
(11) Sabdartha-ratnakara in three kandas, by Vamana-
bhatta-vana. Stein says that it is probably the same work
as quoted by Appaya Diksita. But R. Sarma surmises
that the author flourished in the last century.
(12) Nama-samgraha-mala by Appaya Diksita, perhaps
the same author who in the beginning of the 17th century
PREFACE. exlv
or earlier wrote works on a variety of subjects. It has
an erudite commentary showing the author’s acquaintances
with a large number of kosas.
(13) Nama-kosa by Sahaja-kirti in 6 kandas. It
gives a number of rules for the determination of genders.
In 1627 A.D. the author composed a poem in praise of the
image or Parsva-natha at Lodhra-pura.
(14) Pafica-tatva-prakasa by Veni-datta composed in
1644 and lithographed in Sat-kosa-samgraha.
(15) Kalpa-dru by KeSava. RB. Sarma has published
this book in the Gaekwad Sanskrit Series. It is divided
into three kindas, #.e., main branches, each with a number
of pra-kandas or minor branches. It was composed in
1660 A.D. There seems to have been other KeSavas,
because Malli-natha quotes from one. This may be KeSava-
svami. Kalpa-druis the largest synonymous dictionary,
(16) Sabda-ratnavali by Mathuresa. R. Sarma thinks
that this Mathure8a is identical with MathuresSa Vidya-
lamkara, who wrote a commentary on Amara entitled Sara-
sundari. The identification seems to be very doubtful.
The commentator is Mathuresa Vidyalamkara but the
author is simply Mathuresa. The commentator wrote in
the interest of Supadma Vyakarana which is not studied in
Kast Bengal. The commentator is a Banerji of Napadi in
West Bengal, while the author wrote in East Bengal under
the patronage of Mucca Khan Masalanda Hlli, son of Isa
Khan who was the chief of the Bara-bhuiyas or Twelve land-
lords who divided East and South Bengal among them-
selves, in the beginning of the 17th century. Masalanda
Elli had many brothers among whom Khan Mahammad,
exlvi PREFACE.
Khan Abdulla and Khan Yuddhananda are mentioned in
the MS. Rupa-dasa and Vallabha-rama were Masalanda’s
Hindu officers who encouraged the author to write the book.
(17) Kosa-kalpa-taru by ViSva-natha. It is both ho-
monymous and synonymous.
(18) Nanartha-pada-petika by Sujana (Mad., ITT,
pp. 1166-67) and Sabda-lingartha-candrika both are
homonymous, one arranged according to the last consonant
and the other according to gender. (Mad., ITI, p. 1206) A
commentary to the 2nd is entitled Drstanta-siddhafijana
by the grandson of the author whose name is Vidvat-kallo]a-
bhattacarya. The grandson of the commentator, Vidvae-
‘cakora-bhattacarya, wrote a sub-commentary entitled Sarat
(Mad., III, p. 1118).
The name of the text is Sabda-sabdartha-candrika,
that is, the moon-shine of words and their meanings. To
enjoy the moon-shine one must have clear vision and clear
vision is obtained by the use of afijana or eye-wash; that
wash is supplied by the grandson. Moonshine jg most
glorious in autumn and therefore the grandson’s grandson
names his sub-commentary simply as Sarat or autumn.
So the autumnal moonshine is seen with a clear vision by
the exertions of four generations.
(19) Paryyaya-Sabda-manjari (Mad., III, p. 1174)
by Vidya Hamvira-misra is a synonymous dictionary.
The author calls himself Candra-ctidavatara,—an jncar-
nation of the moon-crested Siva. It is in three gucchas
or bunches. It treats of those words which are commonly
used, those which are useful to men, and those that are
used in the sastras. In the first bunch it treated of cities,
|
_s
~~ ae
PREFACE. exlvii
in the second, of men, and in the third, of the world. So
the work is concerned with terrestrial world only.
Sabda-Sabdartha-manjisa (Mad., IIT, p. 1210). The
catalogists says. it is by King Hamvira-misra, the colophon
says Kavi Hamvira-misra. It treats of synonymous and
homonymous words. Its chapters are named Apavaraka.
In three apavarakas it treats of gods, men, and animals.
R. Sarma thinks that the authors are _ identical,
though one is ealled a poet and the other, a learned man.
The king is, T believe, a mistake of the catalogist.
A work of the same name is quoted in Amara-khan-
danam by Sri-harsa (Mad., III, p. 1113). So the work
seems to be rather old.
The word manjus&a means a covered basket: jewels
are put generally in a manjusa. Things that are put in
are called ‘dhauka’, so the commentary of this Manjisa is
‘Dhauka’ (Mad., III, p. 1112). It is by Murari-miSra, the
pupil of Mani-misra.
(20) Paryyaya-ratna-mala by MaheSvara (Mad., III, p.
1177) in three paricchedas treating of celestial, terres-
trial, and nether world objects respectively. It generally
treats of sentient beings. ‘The author was a worshipper of
Mahesvara.
(21) Paryyaya-sabda-ratnam by Dhanatjaya Bhatta-
cirya in three sargas treating of upper, middle, and lower
regions. The catalogist says, that the author refers in his
introduction to Sabdendu-sekhara. This is not the Sab-
dendu-sekhara by NageSa-bhatta, because the author is
described as ‘Sabdendu-sekhara-krti-pravilasa mana-kirtih’
exlvili PREFACE.
that is a man whose fame has spread abroad by the work
entitled Sabdendu-sekhara.
(22) Visva-medini by Sarasvata-mi8sra. (Mad., ITT,
p. 1192.) Medini-kosa is merely homonymous, so to
differentiate the present work from Medini-kosa it is
called ViSva-medini. It is in three kandas, homonyms,
synonyms, and indeclinables. It treats of genders in an-
other of his works named Hema-medini arranged in alpha-
betical order.
It has a commentary named Sumanah-kanta (Mad
. oe a
III, pp. 1193-94) by Vacas-pati-miéra, the author’s erand-
son. The grandson says that his grandfather was eutika-
siddha like many famous authors, and he gave him the
name Vacas-pati-misra.
(23) Visva-nighantu or Visva-kosa by Vi8va-kavyj
(Mad., IJ, p. 1189). It is a homonymous dictionary, in
which the words with many meanings are given in the
Ist case-ending and the different meanings in the 7th ¢
ending.
ASe-
These twenty-three works are given in the same order
as in R. Sarma’s introduction to the Kalpa-dru-kosa. But
there are other modern kogas, too. One of them is Sputa-
Sabdartha-nighantu or Sruti by Someavara, the pupil of
Yogesvara. It is in sixteen vargas. ‘The author says that
Nighantu, Jniana-kosa and others are well known. In
this kosa is given what is not said or badly said in them
and explained what is said in them. It treats of the Vedic
words, their names, their genders, and _ their meanings.
I.0. 1035 gives the numbers of each of the sixteen vargas.
The vargas are generally named after the first word. The
vargas from 8 to 15 are Kadi, Cadi, Tadi, Tadi, Padi,
R
PREFACE. exlix
Adbhuta, Yadi, and Sadi. The author says that he has
studied both the mantras and tantras and collected words
which have a definite meaning there.
Paryyayarnava (Mad., LIT, p. 1181) by Nila-kantha is
a collection of synonyms in five tarangas. The author Says,
that whatever, Dhanvantari, Marici, Atri, and others have
said in the matter of terrestrial research will be noted in this
work, The five tarangas are (1) N ivandhana-taranga,
(2) Patra-phala-vrksa-prasamsa, (3) Puspa-daru-vrksaka-
samsara-lata-gulma-sasya-viSesa-parisilana-vicara, (4)Deva-
tiryag-jantu-vicara, (0) Manusyadi-vicara.
Krya-nighantu is a dictionary of verbs by Bhattoji
Diksita conjugated in the third person,
Krya nighantu. ; © :
singular, present tense. (Mad., III,
page 1115.)
Sarasvatabhidhana, a small vocabulary of 32 Sslokas is
attributed to Sarasvati herself. This
is to be kept a secret by all poets and
not to be communicated to others just as one’s age and
one’s wife. It has a synonymous portion in verses, and
a homonymous portion of twenty-three words. Rajendra-
lala Mitra notices two MSS. of this work, one containing
11 Slokas and the other 47 slokas (L. 385 and 1122).
Sarasvatabhidhana.
Nanartha-ratna is by Sri-natha who consulted many
kosas and many panditas with the
object of making the work useful to
young men. The word is generally given in the prathama
and its various meanings in the saptami. ‘The gender is to
be known from the declension. ‘The words are given in
the order of consonants at the end. (Our Catal. 4724.)
Nanartha-ratna.
el PREFACE.
Kriya-kosa is by Rama-candra, son of Visva-natha and
a disciple of Krsna Pandita. It gives the
meanings of roots which are classified
according to their import,—apparently a very modern work.
Aufrceht in his Catal. III, mentions Kriya-kosa as an abridg-
ment of Bhatta-malla’s Akhyata-candrika by Rama-candra,
‘son of ViSva-natha.
Kriya-Kosa.
The author at the end of his book says, though Bhatta.
malla has written a book on this subject, he is writing this
abridgment for the comprehension of young men giving
those verbs only which have extensive currency.
The oldest work of this class is said to be Dvi-riipa-
kosa by Sri-harsa, the author of Naj-
A dictionary of words sadha-carita. The colophon sives the
with two or more forms, hs
that is, spellings. same account of Sri-harsa as in that
work. But in this work, he Says of
himself, as Naisadha-maha-kivyojjvala-kirtina. It is not
only a Dvi-riipa-kosa, but a Tri-riipa-koga, Catt-riipa-koga,
and Pafica-rapa-kosa. The forms of words differ some-
times in matra (quality), sometimes in letters, sometimes
in vibhakti (declension) and sometimes in rudhi or usage.
(Printed in Grantha-pradarsani. )
Sabda-bheda-prakasa is by Bhattoji Diksita. The
causes of different forms, in this work,
are given »° little differently from those
of Sri-harsa. It says, that the difference is sometimes from
matra, sometimes *from letters sometimes from difference
of meaning, and sometimes fro: rudhi or usage. (Mad., ITI,
page 1205).
Sabda-bheda-prakfsa.
Visesamrta, sometimes called by mistake Visamrta, is
by Tryamvoka-misra. It gives the al-
ternative 'orms of words. The author
Visesamrta.
PREFACE. cli
says, that he was proficient in 32 bhasas from which
varieties of words were formed. (Mad., ITT, p. 1195.)
Sarasvati-vilasa is by Svarita-vallabha Bhattacarya,
born in the family of Samkara-misra..
It is divided into three chapters. (1)
Antyadi-ramyam (2) Dirghadi-vicitram (3) Ganita-
ganitadi-kathanam (Mad., III, p. 1120).
Sarsvati-vilfsa.
Vaibhasika-koga by Krsna-kavi, son of King Laksmana
OE ctiacueca be and Mallika. The work was written in
Ee raikavi KKali-yuga era 4869, that is, 1768 A.D.,
the commentary, by the author, in
Kali-yuga era 4882, that is, 1781 A.D. It deals with
alternative forms of words (Mad., ITI, p. 1200).
Another work on Dvi-ripa-kosa is by Purusottama-
deva. (I.O. 1037 and 1038.) Sabda-bheda-prakaa is also
attributed to the same author; but Eggeling says, “It
agrees pretty closely with the first part of the first supple-
ment of MaheSvara’s ViSva-prakaSa.
These works are so similar to each other that it is
very difficult to distinguish one from the other and so
there is confusion about the authorship in many of them.
A good instance of this has been given by Eggeling in
1037 of his Catalogue.
Dvi-ripa-dhvani-samgraha is a vocabulary of words of ©
ite different spellings by Bharata Mallika,
Ce aaa —son of Gauranga Mallika (I.0. 1041).
Varna-desana (I.0. 1039) is by Purusottama-deva. Tn
ae the preamble the author Says, this
desana. work is written for regulating the
spelling and it is to be regarded ag a
command of the King.
eli PREFACE.
The Sanskrit alphabet is purely phonetic but with the
advance of the Aryans towards the east and the admission
of many non-Aryan tribes into the Aryan society, the purely
phonetic character of the alphabet changed, and the change
ig nowhere more marked than in Eastern India, especially
in Bengal. In Bengal ja (#1) and ya (a) are similarly pro-
nounced, ba (4) and va (a) are similarly pronounced. No
distinction is made between the cerebral na and dental na.
The three sibilants have the same pronunciation. This is
true so far as the sound reaches the ear. ‘The form of let-
ters in different provinces, specially in the east, also creates
confusion; kha and ksa are often confused in Writing,
sometimes sa is written for both. Gha and ha, are often
confused, da and nda are scarcely distinguishable. Puyurn-
sottama writes his Varna-desana to prevent all these eop- :
fusions and to regulate the spelling according to the old |
phonetic alphabet. Mahe8vara in the appendix to his
Visva-prakasa, entitled Sabda-bheda-prakasa, made an at- _
tempt to regulate spelling in the same direction. But —
Purusottama seems to have taken up the work in earnest.
‘ Besides his Varna-deSana, he has written Ekaksara-kosa
4731—VI. Sakara-nirnaya 4728—III, is a spelling book §
designed to point out, what words have the letter 8a, what —
words sa and what words sa; what words have na and —
what words have ja; and from this it appears that Puru- |
sottama was a Bengali. . 7
h
Varna-prakasa is by Karna-ptra written for the use of
Raja-dhara, son of Amara-manikya of
Tripura, the 159th king from the
Moon. (See Introduction to the Raja-mala 80/0.) The
object of the book was correct writing. ‘he author con-
sulted puranas, punnings, yamakas, 19 kosas, many works —
on dhatu-vrtti, and unadi. It treats of the difference |
Varna-prakasa.
PREFACE. eliii
between, ja and ya; na and na: ba and va and the three
sibilants (1.0. 1036).
Besides these there are many dictionaries of words of
one syllable only variously named Ekaksara-kosa, Varna-
bhidhana, Matrika-nighantu, ete. One of them is attributed
to Vara-ruci, another to Purusottama-deva, a third to
Bharata Mallika, a fourth to Sudha-kalasa, a disciple of
Raja-Sekhara, a fifth to Sri-nandana-bhatta, and a sixth to
Mahi-dhara, and a seventh to BhaSkara-pandita. They are
to be found in the I.O. Catalogue and in our Catalogue
Nos. 4722 and 4726. There are other kosas entitled Rasi-
kosa, Naksatra-kosa and so on. ‘These are not kosas
properly so called, simply lists of Rasis, Naksatras, et cetera.
CHANDAH-SASTRA.
PROSODY.
In Vaidika literature, chandah does not necessarily
mean metre. It means anything that
covers and includes, besides metre,
rhythm, style, intonation, melody, and
cadence, and all that embellishes and dignifies literature
from common speech. Every mantra has its chandah and
it is to be named before the mantra is uttered. Even
Yajus which is generally in prose has chandah. Long
prose mantras have their chandah, The Vedicl anguage
is called chandasa. Panini while speaking of the Vedie
language gives the word chandasi in his stttras as opposed
to bhasayam.
Vedic chandah is neither
metre nor prosody.
GIA At Hae AUIS, etc., uttered by every brahmana
in their morning sandhya, is said to be in Prakrti chandah.
This is the Prakrti chandah of Pingala in 84 letters.
There are chandahs of one letter, two letters, up to 194
letters. This cannot be metre. The mono-syllabic Bhuh,
the di-syllabic Bhuvah and mono-syllabic Svah are mantras
and they have their chandah.
Chandahs are generally divided into Vedic and laukika.
Laukika chandahs generally contain
from twenty-four to forty-eight letters
divided into 4 padas or quadrants.
The Vedic chandahs are not so divided. Not to speak of
the Daivi-gayatri, etc., that is, from 1 letter to 23 letters,
even the Gayatri chandah of 24 letters is divided generally
into 3 padas or quadrants of 8 letters each. There are
Gayatris of 2 quadrants also, called Dvipada.
Vedic and laukika
chandahs,
PREFACE. clv
Chandah was a powerful instrument in keeping the
purity of the pronunciation of Vedic
mantras. If there was any mistake,
the chandah will at once detect it. So, the chandah is
regarded as one of the six angas, limbs or subsidiary
studies of the Vedas. It is often called the chief anga or
the first anga. So, much importance was attached to
it in Vedic times. As a Vedanga it had treatises for
different Vedas. and different Sakhas of it. But Pingala’s
great work cast every one of them into shade, and they
have all disappeared, still Pingala has perpetuated the
names of many a prosodists before him. He names
Kraustuki, Yaska, and T’andina as his predecessors in
Vedic prosody. (See Ping. ch. ITI, sutras 29, 30, and 36.)
But it is not possible to determine whether they were
writers belonging to ditterent Sikhas or writers like
Pingala of tracts on Vaidika chandah as a whole.
Chandah as a Vedinga.
The age of Pingala was never properly investigated.
But the tradition embodied. in the
Kavya-mimamsa by Raja-sekhara in
the beginning of the 10th century, places him immediately
after Panini, and both of them were tested at Patali-putra,
and Pingala-naga was in his old age, the preceptor of Vindu-
sira’s sons. So he must have flourished in the 2nd half of
the 4th century B.C. As Panini has embodied in his great
srammar both chandasa language and bhaga, so Pingala has
also embodied in his great prosody, both Vedic and laukika.
As Panini was preceded by several grammarians, who
wrote on bhasa, some of whom he names, so Pingala was
preceded by several writers on laukika chandah, of whom
he names at least four, e.g., Saitava, (See. Ch. VII., sutra 10.
Rata and Mandavya, (Ch. VII, stittra 34) and Kasyapa (Ch)
VII, stitra 9).
Age of Pingala.
clvl PREFACE.
Pingala’s system is based on arithmetic, permutation,
combination, and even progression
which subsequent writers did not take
any account of. Hence there is a great difference between
his system and those of Vrtta-ratnakara and Chando-maf-
jari. Like Panini, Pingala attempts to reduce the nomen-
clature of the essentials of his prosody into algebrical Signs,
Guru and laghu he reduces to ga and la, and ag the
whole of the system of prosody depends on short and long
vowels, the whole work looks like algebra, with short and
Jong vowels in different positions. In a combination of 3
letters, he has given us eight groups. Short vowels js one
matra and long vowels, two matras. Writing short vowel]
with a curve and long vowel with a line, he has given -__
Pingala’s system.
Aq=- —-—
~~
7— ~~ ——
a a aes
L=
aa VM
wy)
q=—
a= VY
y= “Vv ae
= —
q—_- VV wv
The Vedic prosody of Pingala ends with the 7th sutra
of the 4th chapter. In the beginning
of the 2nd chapter he gives a tabular
statement in which the vertical column containg eight
entries, (1) Arsi (2) Daivi (3) Asuri (4) Prajapatya (6)
Yajusi (6) Samni (7) Arci (8) Brahmi. The horizontal
columns contain the names of seven chandahs (1) Gayatri
(2) Usnik (3) Anustup (4) Vrhati (5) Pankti (6) Tristubh, and
(7) Jagati. In the horizontal column Arsi, the chandahs
increase by 4 letters each, 24, 28, 32, 36, 40, 44, 48.
Above these there is Ati-jagati 52; Sakkari 56; Ati-
Vedic prosody of Pingala.
—_
PREFACE. elvii
Sakkari 60; Asti 64; Atyasti 68; Dhrti 72; Ati-dhrti 76;
Krti 80; Prakrti 84; Akrti 88; Vikrti 92; Samkrti 96;
Abhi-krti LOO ; Ut-krti 104.
‘<The Vedic verses were composed at different times in
diverse localities and by various per-
sons. The gifted authors were not
hampered by any rules of grammar or rhetoric, syntax or
prosody. The language was not stereotyped then, as it
subsequently became. In the unbounded vigour of genius
and amidst the surrounding luxuriance of nature they
burst forth into expressions, sometimes so exquisite as to
be almost inimitable. There is no wonder then that the
Vedas came to be regarded as an emanation from the
Supreme Source of all things. But that very luxuriance
made it well-nigh impossible to bring it under general
rules. Whatever schemes might be adopted there would
still remain some exceptions that could not be included in
it. To avoid this inconvenience, the authors of the rules
of versification devised an exceedingly plastic and variable
numerical method. In it, a single syllable is a Daivi-gaya-
tri, be it a long or a short one. A couple of syllables are
a Daivi-usnik, three of them are Daivi-anustup and so on
to an indefinite extent.
The Vedic verses.
«Then again by the rules of Nicrt and Bhurik (Ch.
IIT, sttras 59, and 60) Svarat and Virat, an addition of, or,
a diminution by a syllable or two is quite legitimate.
. Thus the little gaps in the
Bemerioal prerintion are completely bridged over and
there could be no imaginable sentence or composition that
would not fall under one or other of these measures. We
must remember again that there was no restriction whatever
as to long or short syllables nor any regulation of pause or
elvill PREFACE,
yati.”” (Introduction, Para 13 and 14 of Ghosa’s Chandah-
sara-sameraha. )
As I have said in the preface to the Purana volume
that the Agni-purana has chapters on versification both
Vedic and laukika. The author of the Purana follows
Pingala closely as explained by an yet unknown com-
mentary, whose opinions have been refuted by Hala-
yudha, the standard commentator of Pingala in the 2nq
half of the 10th century A.D, in Malava. The later chan-
dah works also deal with Vedic versification. One of
them counts the numbers the Vedic metres as opposed
to laukika. The Narada-purana, too, in its second book
has a chapter on Vedic prosody.
Pingala admits of three classes of laukika chandahs
(1) ganac-chandah (2) matrac-chandah
(3) aksarac-chandah. One ig Apyes
etc.,; two, Vaitali, ete
Laukika section of Pin-
gala’s Prosody.
yya,
->3 three,
Samani, etc.
The unit of gana is generally called catuskala- Sana or
a group of four short vowels. That gana can have Only five
varieties, 11, |IV¥,VIY,YVI,YY iad. and no sixth. Aryya,
according to Pingala, consists of two halves. Both Consist-
ing of seven and a half ganas. According to different ganas
in different places the Aryya has 80 varieties. Thege have
been given in notes of the Bibliotheca Indica edition and
explained by Ghosa in Paras 27, 28, and 29 of his introduc-
‘tion to Chandah-sara-samgraha. In the chief definition of
Aryya, the distribution in four padas is ignored. But syp-
sequent writers make the pause after twelve matrag in the
first and second half, the chief point of an Aryya. But
Pingala admits it only in the Pathya varieties of this metre.
The second division of laukika verses in Pingala is
PREFACE. clix
Vaitaliya. In it there are four quadrants. The odds have
14 matrais, and the evens 16. The last syllable of each
pada must be long. There are altogether eighteen
varieties.
The third, aksarac-chandah is of three kinds :—(1)
Sama, (2) Ardha-sama, (3) Visama, that is (@) where all
the quadrants have equal numbers of syllables; (6) where
the first and second have the same number of syllables as
the third and fourth respectively: and (c) where all the
quadrants have different number of syllables.
From Gayatri in 24 letters to Ut-krti in 104 letters, all
the chandahs are common both in the Vedas and in bhasa.
The difference being (1) the arrangement of quadrant Is
very loose in the Vedas and very rigid in the bhasa (2)
the matra is, as a rule, ignored in the Vedas, but their suc-
cession is very strict in bhasa; (8) the pauses are non est
in the Vedas, but they are essential in the bhasa.°
*
The varieties of these chandahs come to millions.
All chandahs above 104 syllables, that is, 26 syllables
in a quadrant, are called Dandaka. In the 10th and IIth
centuries, the Dandakas became very fashionable. In
writing, these long metres looked like prose. In print,
too, they are difficult to be distinguished from prose. All
chandahs, not mentioned in these rules, are called gathas.
Prakrta-pingala is a work on chandah not of Vedic
or classical Sanskrit but of Prakrta. It is attributed to
Pingala, because, he is the earliest and the greatest of the
writers on chandah. It may have followed in some
instances Pingala’s Chandah-sitra, but it is a very late
work. It mentions Hambira, the Rajput sovereign of
clx PREFACE.
Mewar in the 14th century. Muhammedan words are
often met with in this work, and the commentaries all
belong to the 17th century. The most noted name amongst
the commentators is Vis8va-natha Tarka-pancinana, the
writer of three of the most difficult, abstruse, and
erudite works on modern Nyaya. How he came to write
a commentary on Prakrta-pingala is a wonder. Vamaii-
dhara’s commentary was written at Benares in 1621. His
father, Krsna-deva, encouraged and helped him in his work.
Yadavendra, who has the titles of Budha-rajendra, Daga
vadhana, and Bhattacarya wrote a commentary on the
Prakrta-pingala with the object that no teacher’s agsist-
ance would be necessary. ‘There is another commentary,
by Krsna. A fifth commentary by Sri-harsa Sarma, son
of Pandita Makara-dhvaja, is mentioned in No. 9 of the
Chandah section of the Calcutta Sanskrit College Catalogue,
Pingala-prakrta-sutra with a commentary by Bhatta
Laksmi-simha was composed in 1657 Samvat equal to
1600 A.D. The commentator says, that, Valmiki is the
earliest poet in Sanskrit, Sali-vahana in Prakrta and
Pingala, which is another name cf Sesa-naga in bhasa,
(This is perhaps the reason why in Rajputana, the bards
write in two distinct languages, Dingala and Pingala.
Maru-bhasa is Dingala, and Vraja-bhasa is Pingala.) Sega-
naga wanted to know how much of his hood was covered
by the earth and so he came to earth in the guise of g
brahmana. But Garuda, his enemy, knowing his disguise
swooped upon him from a great distance. The brahmana
said to Garuda, ‘‘ you see my skill in poetry, what I write
in one place I do not write in another”. So saying he
went on composing poetry till he came to the end of the
land and jumped into the sea and thus cconpeda the
vengeance of Garuda (Mad., III, p. 1226).
—
PREFACE. clx}
Pingala-sara-vikaSini is a Sanskrit commentary on
Prakrta-Pingala by Ravi-kara, who gives his genealogy
thus— |
Stla-pani
"2
Ratnakara Misra
Dohovi Pandita
|
Dhande§&a
Bhima-sena-mi&sra
Hari-hara avi
Ravi-kara.
The MS. in the India Office (I.O. Catal. 1110) was copied
from a MS. in the library of the Palpa Raja of Gorakpura
in 1814. Palpa is now in Nepal territory.
Vrtta-mauktika, is a Sanskrit treatise on Prakrta
metre by Candra-Sekhara, son of Laksmi-natha-bhatta
(1.0. Catal. 1114).
Chandah-kosa is an exposition of Prakrta metres in
Prakrta stanzas serving as examples of particular metres
explained.
After Pingala comes the great poet Kali-dasa as a
writer of two works on chandah in Sanskrit. The shorter
one, Sruta-bodha, is well known. Copies of it will be found
everywhere. It has often been printed. It has been
written in a very light vein addressing the poet’s wife.
The definition of each vrtta or metre is given in the
game metre. The rules of chandah are given in a few
verses in the beginning.
clxii PREFACE.
It has a commentary (Mad., III, p. 1243). The com-
mentator puts forth an apology for Isali-dasa, for not
writing a Mangalacarana. He says, that, IKali-dasa did
write a Mangalacarana, but he has not put it here.
Another commentary is mentioned in ].O. Catal. 1086. I¢
is called Sruta-bodha-vrtti by Harsa-kirti Upadhyaya, pupil
of Candra-kirti of the Naga-puriya gaccha.
The other work on metre attributed to Kali-dasa js
Vrtta-ratnavali. It consists of 71 stanzas in praise of
Sarasvati. Every stanza is in a special metre and eon-
tains the name of that metre. It gives no rules of
prosody.
The next great writer on chandah is Ratna-kara
Santi of Vikrama-sila-vihara and the guru of Dipamkara-
Sri-jfiana or Atisa, the organiser of Mahayana Buddhism
in Tibet. The work is entitled Chando-ratnakara, in
which the author is given the title of Wali-kala-sarvajiia,
that is, a Buddha of the Kali era. Ratnakara Santi was
an eminent controversialist and an acute logician, js
Antar-vyapti-samarthana has been published by me in the
Bibliotheca Indica series as one of the six tracts on Bud-
dhist logic. Some of his songs in Bengali survive in the
Carya-carya-viniscaya. The 1.0. Ms. is accompanied with
a Tibetan transliteration and a Tibetan translation. It
follows the classification of chandahs by Pingala. [tis q
wonder how he came to write a work on chandah (1.0.
Catal. £105).
Vani-bhtsana by Damodara of the Dirgha-bhusgana
family in two paricchedas,—Matra-vrtta and Varna-vrtta
is to be found in L.O. Catal. 1097. It says that the matra-
vrttas are 43 and the varna-vrttas are 13 more.
PREFACE. — ebxili
Chando-mala by Saranga-dhara Agni-hotri is found in
LO, Catal. 1104. It is an elementary treatise on Sanskvit
prosody in which much has been omitted that is not useful
to a student of chandah. It has a chapter entitled Gatha-
prakarana. ‘Then follow doha, sorattha, catuspadika, etc.,
which are only used in Hindi and other vernaculars.
Vrttokti-ratna is a metrical paraphrase of Pingala’s
rules of Sanskrit prosody by Narayana-bhatta-tara with a
commentary entitled Pariksa, by the author himself, in
which the verses of the treatise are throughout interpretted
ina double sense. In the text the author follows the inter-
pretation of Pingala as given by Halayudha. The Pariksa
commentary simply explains the text but does not criticise
it (1.0. Catal. 1106).
Vrtta-muktavali is by Maithila Durga-datta (I.0. Catal,
1113). The author was patronised by Hindu-pati, a raja
of the Bundela tribe. The first king of the dynasty was
Campati-rao; his son Chatra-8ala; his son was Sabha-
simha,
Vrtta-muktavali-tarala by Mallari, on Vrtta-muktavali
has not yet been found (I.O. 1112).
Two works of modern origin are very popular in India
but their dates are uncertain. They are (1) Vrtta-ratnakara
and (2) Chando-majfijari. Vrtta-ratnakara is by Kedara-
bhatta, the son of one whose name is variously spelt as
Pabveka, Pathyeka or Pebbeka of the KaSyapa-gotra and
a master of all siddhantas. It is divided into six chapters.
The tradition of the Chandah-sastra is civen thus in this
work ;—-Mahadeva, Guha, Sanat-kumara, Vrhaspati, Indra,
Sesa-niga, and Pingala whose disciples spread the chandah
all over the earth. As a popular work it has many
commentaries.
clxiv | PREFACE. |
(1) Mati-mafijari is by Narayana-bhatta-purohita, son
of Nr-simha-yajva (Mad., ITT, p. 1223).
(2) Dhi-sodhani is by Sri-natha, son of Govinda-
bhatta. The author is described in the colophon as Kavi-
sarddtla (Mad., III, p. 1225).
(3) There is one commentary by Hema-samsada-adhj- i.
Ssa,son of Tirtha-nayaka. It speaks of Citra-kavyas at |
the end. (Mad., III, p. 1238.)
(4) Vrtta-ratnakara-setu by Hari-bhaskara-Sarma, gon —
of Ayaji-bhatta, grandson of Hari-bhatta, and great grand-
son of Purusottama-bhatta of the Kasyapa cotra, was
written at Benares in 1676 A.D. (1.0. Catal. 1091),
(5) Bhavartha-dipika is by Janardana-bhatta (1.0.
Catal. 1093). :
(6) The great Narayana-bhatta of Benares wrote a
commentary on Vrtta-ratnakara in 1545 A.D. Hig ceneal-
_ogy is given here as follows :—
Naga-pasa
Anga-deva
|
Govinda
Ramesvara
Narayana
(See 1.0. Catal. 1094.)
The same Narayana-bhatta wrote an independent
treatise on chandah entitled Vrtta-kaumudi after the —
title of Jagad-guru was conferred upon him by Akbar
PREFACE, elxv
about 1572. when he relieved northern India from the
effects of a long drought spreading over 12 years by his
devotion to Rama. ‘This work has not yet been found.
But it has been quoted by Diva-kara.
(7) Virtta-ratnakaradarsa by Diva-kara, son of Maha-
deva and grandson of Bharadvaja-Balambhatta in 1740
“A.D. The writer has made full use of Narayana-
bhatta’s commentary and his work on Prosody entitled
Vrtta-Kaumudi (f.0. Catal. 1085). The commentator
quotes a number of standard works on chandah. The
commentator’s father Mahadeva has been’ described
here as a Tarkika. He is the author of Dina-Kari, a com-
mentary on Siddhanta-muktavali of ViSva-natha Tarka-
pancanana.
(8) Vrtta-ratnakara-vyakhya entitled Ratna-prakasika
by Rama-krsna, son of Sadasiva-deva and Bhavani, grand-
son of Sri-pati-deva-suri and great grandson of Nila-kantha
of Atreya-gotra. The author wrote under the patronage
of Raja Bana-simha, son of Bhagavanta-simha belonging
to the Ujjena-vamsa founded by Vikramaditya.
Chando-mafijari by Ganga-dasa, son of Gopala-dasa
and Santosé, a Vaidya by caste, is in six chapters:
(1) mukhabandha, (2) sama-vrtta, (3) ardha-sama-vrtta,
(4) visama-vrtta, (5) matra-vrtta, (6) gadya-vrtta-stavaka.
Chando-mafijari-tika by Jagan-natha-sena, son of
Jata-dhara-sena, was written for the benefit of author’s
pupils (7.0. Catal. 1101).
Chando-mafjari-jivana by Candra-sekhara is to be
found in 1.0. Catal. 1102. At the end there are certain
elxvi PREFACE.
modifications of metres, such as are detailed in the last
chapter of Vrtta-ratnakara. It deals with Prastara,
permutation, and combination of matras or measures.
Other works on Chandah, not so popular and not
go often used, are:—HEkavali, written by Gokula-natha
under the patronage of Fateh-shahi, raja of Gadwal in
the 17th century. It deals with metres in common use.
The stanzas given in illustration of various metres are
all in praise of Fateh-shahi. ‘The work is divided into
three Ratnas. The author’s mother’s name is Uma, and
father’s name is perhaps Vidya-nidhi. The author offers
this Ekavali to his patron, as fit to decorate him (Mad. UI,
p. 1225).
Vrtta-mani-kosa, by Sri-nivasa, son of Laksmi-venkata
of the Vajsaneya-sakha. ‘The chapters are called Viskam-
bhas and there are six of them (Mad. ITI, p. 1228).
Prastara from root ‘str’ to spread, meaning Spreading
or expansion. When applied to chandah, it means scan-
sion and the calculation of the position of matrag or
measures, and syllables, by permutation and combination.
It is an interesting subject, but very intricate, involving as
it does a good deal of arithmetical calculation. An
eminent astronomer of Beneras of the 17th century, named
Cintamani, has written a book on the subject named
Prastara-cinta-mani. It is divided into three chapters :
(1) Varna-prastara on metres regulated by syllables.
(2) Matra-prastara on metres regulated by quantity.
(3) Khanda-prastara on the application of music to
the preceding two classes of metres.
The work may be of considerable use in elucidating
the subject of rhythm in Indian music. The authorities
PREFACE. elxvil
consulted in this connection are: Diksita, Pingala-sitra,
. ‘ 2 a ‘ ‘ 4 ree rh va z 5S - a be > 4:
Bharata, Bhamaha, Vrtta-ratnikara, Sangita-darpana, and
Sangita-ratnakara. |
~The father of the author, Govinda. was one of the first
class astronomers with a thorough knowledge of Panini,
Kavya, and Alamkara. The son was equally proficient
in grammar, Jyotisa, and Chandah.
Ghosh in the introduction to his Chandah-sara-sam-
graha, paragraphs 42-46, has applied algebrical formule in
the elucidation of Prastara and these should be read
by those who want to elucidate this subject. His idea
is that Pingala applied arithmetic and algebra to his
prosody, which subsequent writers have failed to do.
All that has been said up to this time relate to
blank verse alone. Later Sanskrit poets however used
thymes which they called Yamaka, and Jaya-deva has
made his rhymes sweet, melodious, and famous throughout
the world; so much so, that in the vernaculars we have
nothing but rhymes till in the beginning of the sixties
of the last century when Michael Madhu-stdana Datta
introduced blank verse into Bengali from Europe. But
I don’t think that Bengalis have taken very kindly to it.
ALANKARA.
RHETORIC.
Alankara-sastra or rhetoric is formulated when there
is an extensive lterature in any
branch of Poetry. Sanskrit rhetoric
regulates six kinds of Poctic literature
in the main, and has six distinct origins.
Six kinds of poetic liter-
ature.
The first kind of these is what Bhamaha calls <« ayj-
baddha’ or ‘muktaka”°’—detached or
(1) Anibaddha or muk- 1
S a ee S TE ee y é > ITV *»
ia, loose,—one verse poetry or
short
pieces. The Sanskrit poetical litera-
ture abounds in this sort of poetry. The stktas of the
Rg-veda contain from one rk to fifty-two res only, and
in the end of the 10th Mandala they are arranged accord-
ing to the number of verses or res they contain. Coming
later, the same anibaddhas and muktakas are to be found
in the Thera-theri-gatha, in the Dhammapada (Sanskrit.
Prakrit, and Pali), in Gatha-saptaSati, Arya-saptasati.
Paficakas, Saptakas, Astakas, Dasakas, Vimsikas, Trim-
Sikas, Paficasat, Satakas, Sapta-sataka, et cetera.’ For the
discipline of writers of such extempore verses the formulation
of dosas or defects is quite enough. lExcellences there
may or may not be; but it must be free of fault. One
single fault mars the enjoyment of a beautiful verse, just
as one patch of white mars the beauty of a handsome
person. There may be simple alankaras like simile, but
alankara has not much scope in such poetical pieces.
The second form of literature for which the help of
rhetoric is invoked is business prose, royal writs, ordinary
PREFACE. elxix
correspondence and documents. Glaring mistakes of
crammar, language, and idiom must be
avoided in these,—especially, vulgari-
ty. It should have some excellences ;
it should be lucid, unambiguous, thoroughly clear to those
for whom it is meant, without technical terms and the
arguments should be marshalled in their proper order,
and so on. Ifigures of speech have very little scope in
this sort of literature.
(2) Business prose, royal
writs, etc.
The third form of literature for the exercise of
rhetorical restraint is the language of
controversy. - That language should
be free from all defects; it should be
lucid, unambiguous, free from hard technicalities, and so
forth. Figures of speech have very little scope here also.
But it strictly follows the rules of argument (the Tarka-
Sastra and Hetu-sastra). If it does not, it is ovenerally
condemned for faulty logic.
(3) Language of contro-
versy.
The fourth form is poetry in prose. Some say that
it is divided in two classes, viz., ak-
hyayika and katha. But others divide
it in many classes. It is here that the
question of style arises. There should, of course, be no
glaring defects, and the figures of speech have a free scope.
There are some gunas or excellences that are inherent in
one style, while there are opposites in another. Origin-
ally there were two styles; later on, there became many
according to the countries where they prevailed. In
advanced treatises style or riti came to mean the use of
compound words of different degrees. The Pafecali riti
uses compounds of two or three words, the Lati, of five
or six words,—seven at most. The Gaudi allows the
(4) Poetry in Prose,
kutha and akhyayika.
clxx PREFACE.
compounds of any number of words while the V aidarbhi
allows no compounds. It was when poetry in prose Was
the order of the day, that riti became the esta blished dis-
cipline of rhetoric.
The fifth form of literature requiring the discipline
of rhetoric is the drama. But drama
means much more than mere literary
composition. It has much to do with the profession of
actors and actresses; and for establishing this discipline
on them, this section of discipline is called the Nata-
sutra or Natya-sastra. It concerns more with how actors
should behave on the stage than with grammatical
defects, stylish excellences, and figures of speech. Not
that they are neglected altogether but they are given
a subordinate position. The whole Sastra is concerned
with the motions of the limbs, modulation of voice, in-
voluntary expressions of the working of the mind, and
accidental and superficial ornaments.
(5) Drama.
The sixth form of literature 1s concerned with poems
in many cantos. for the discipline of
writers of this class of poems, rhetoric
is most needed. They have most of the higher characteris-
tics of dramas without the help of the actors and the stage.
The work is very difficult. It is the poet’s words only
which have to produce all the effects of a drama. Vamana
gave the highest place to dramas among all the nibaddha
kavyas to the neglect of mahad-kavyas and other forms
of literature.
(6) Maha-kavya.
So far as we are aware, these are the six branches or
forms of literature to which the discipline of the Alankara-
Sastra is applied. “
PREFACE. clxxi
The first source of information about the Alankara-
Sastra is to be found in Yaska’s Niruk-
First Source and the : - TT 5 : J
its. ta. In Nighantu IJ], 138, a list is
siven of the particles of comparison in
the Vedic literature ; and Yaska in his Nirukta illustrates
the use of these particles, and incidentally speaks of bht-
topama, siddhopama. raipopama, and even luptopama and
Guotes a definition of upama from Gargya.
In the case of writing business prose, royal writs,
ordinary correspondences, the direc-
tions are given in Bk. II, Prakarana
28, of Kautilya’s Artha-sastra. There
we get some effective criticism of the art of writing and of
literary composition, rather writs. The composition of
writs should have the following characteristics :—(1) artha-
krama, (arrangement of subject matter), (2) sambandha
(relevancy), (3) paripirnata (completeness), (4) madhuryam
(Sweetness), (5) audaryam (dignity), (6) spastatvam (clear-
Ness), The dosas or defects in composition to be avoided
according to Kautilya, are:— (1) vyaghata (contradic-
tion), (2) punaruktam (repetition), (8) apa-Sabda (bad-
grammar), and (4) samplava (misarrangement of words).
Second Source and the
Artha-Sastra.
There may be differences of opinion as to the date of the
complete work of Kautilya, but that does not apply in the
case of his chapter on writs. Because, at the end of it,
It is distinctly stated that this chapter was written by
Kautilya for Narendra (which is another name of Candra-
gupta) after consulting all sastras and examining the prac-
tice in vogue. So, this chapter was written late in the
4th century B.C.
Since the advent of the six heretical teachers and
Buddha in the earlier centuries, B.C. controversy be-
clxxil PREFACE.
tween the different sects and between the different Schools of
the same sect was the order of the day
and lasted for centuries. The contro-
versy used to be called katha. Dur-
| Third Source and the
Tarka-Sastra.
ing Agoka’s reign, in what 1s called the Third Sangiti or
council, five hundred old monks wrote a work entitled
Katha-vatthu or points of controversy. Books were written
on vada, tarka, vivada, and hetu-sastras. These contro-
versies were useful in two different ways. (1) It led to
accurate knowledge of logic, and (2) to the accurate know-
ledge of dosa and guna of composition. he controversia-
lists were very keen about the exact import of words,—
their connotation and denotation. But they were not
much in favour of clogging the clear expression of words
by figures of speech. But they were also very keen about
clearing their language from the defects of logic or hetu-
Sastra ;—especially those who wanted to popularise the
hard doctrine of moksa by writing kavyas on it.
Prof. Tucci in an article, J.R.A.S., 1929, July, on Buddh-
ist Logic before Din-naga, mentions several works on Tarka-
sastra. In Part marked II, Asanga and Sthiramati speak of
vakyas as Suddha-vakya, vivada-vakya, apavada-vakya,
samvada-vakya and upadesa-vakya. Among theadornments
of speech is mentioned perfection of phrases, and this perfec-
tion depends on five things :—(1) devoid of rustic expression,
(2) easy, (3) evident, (4) coherent, and (5) of good meaning.
Among the vacana-dosas of 9 kinds, there is one called
vyartha which again is divided into 10 sub-sectiongs; (1)
anarthaka, (2) aparthaka, (3) yukti-hani, (4) sadhya-gama.
(5) jati, (6) arthanupalabdhi, (7) asambaddha, (8) aniscita,
(9) siddha-sadhya, and (10) of wrong doctrines. [na
controversy these dosas lead to the defeat of the party
committing these.
PREFACE. elxxill
In the Nigraha-sthana section of Nyaya-stttra as
settled by Vacaspati Misra in his Nyaya-stci-nibandha,
there are two adhikaranas, viz., the second and the
fourth which relate to language and thus come within the
range of rhetoric. ‘The dosas are: (1) arthantara, (2) nir-
arthaka, (3) avijnatartha, and (4) aparthaka. These form
the second adhikarana. Repetition of words is called pun-
arukta and repetition of word and sense when the meaning
is clear is also called punarukta. These two form the fourth
adhikarana.
The defects of argument are said to be of four classes
in the Nyaya-sutras ; viz., (1) hetvabhasa (when things
look like hetu but they are not so), (2) chala or quibbles, (3)
jati (opposition to argument by similitude and dissimil-
tude), and (4) nigraha-sthana (points of defeat). Of these,
the chala or quibbles is purely a defect of language. Tor
example :—this man has come from Nepal because he has
a ‘nava’ (new) blanket. ‘The opponent says this cannot
be: for he has only one and not ‘nava’ (nine) blankets.
Professor Ui in his work on the Vaisesika Sutra of ten
padarthas has proved that the Nyaya-sutras are quoted by
the Buddhist logician Harivarma in the 3rd century A.D.
So the Nyaya-sttras may safely be placed in the 2nd cen-
tury A.D. or even earlier ; and the discipline of the language
of controversy began before that time.
The word katha did not always mean controversy,
though in the Nyaya-sitras vada
(controversy for ascertaining truth)
jalpa (controversy for humiliating an opponent) and
vitanda (controversy for the sake of controversy) are in-
cluded in katha. Yet in light literature katha has a
Fourth Source.
clxxiv PREFACE.
different meaning,—story. The oldest of these stories was
written in the Bhiita-bhasa in the Ist century A.D. Since
then, there had grown many Kathis among the Hindus,
Jains, and Buddhists.
Akhyayikas, short ones, are very familiar in the
Brahmana literature of the Vedas. In classical Sanskrit
also, there are many works called Akhyayikas. Dandin
says that the difference between the katha and akhyayika
is nil; but Vamana says that there are many more
varieties of poetry in prose. It is in writing long works in
prose that the necessity was first felt for riti or different
styles of writings. Later on, when the numbers of ritis
were settled, they were transferred to poetry also. Ags T
told already, that in the opinion of later rhetoricians riti
meant the use of longer or shorter compounds, or no
compounds.
The drama had its origin, says Bharata in his Natya-
sastra (I. 17), in Brahma who took the
dialogues from the Rg-veda, acting
from the Yajur-veda, songs from the
Sama-veda and rasa fromthe Atharvan. I think, in Saying
so, Bharata, the chief interlocutor in the Natya-sagtra
compares the drama with a sacrifice.
Fifth Source, and the
Natya-sastra.
In all sacrifices, the professors of all the three Vedas
participate, and sacrifices were regard-
ed in ancient India as the poreatest
work that man can do. The gacri-
ficial hall and the sacrificial altar had a variety and beauty
of construction which taxed all the resources of Vedie art
and imagination. The sacrificial hall was usually a projec-
tion of the fire-house in which a perpetual fire was
The Vedic sacrifice
and the drama.
PREFACE. elxxv
kept burning by every twice-born man worth the name.
At the further end of the vedi or sanctified ground, there
used to be a fire-pit much larger than that kept in the
fire-house. There the objects of offerings to the gods were
kept arranged. These offerings may be either animals or
vegetables, may be single objects or a combination of objects.
There were wooden glasses in which the frothing juice of
soma used to be kept ready for the use of the gods.
The idea was that the gods, invisible powers, hover
round the fire-pit and anything that is put in the fire is
eaten by these invisible gods. Close to the fire-pit sat the
Adhvaryus or priests professing the Yajur-veda, who pro-
nounced the sacrificial formule and put the offerings into
the fire. Tire was regarded as the mouth of the gods and
anything put in the fire was eaten by the gods. The Yajur-
vedi priests did all the manual and physical work in a
Sacrifice. At the end opposite to that on which they sat
were a row of priests, the Hotas and the Udgatas, %.e.,
priests professing the Rk and the Sama Vedas. Their
number was not fixed. At the call of the Hotds or the
callers, or the invokers, the gods used to come close to the
fire and at a hint from them the Adhvaryus put things
into the fire and the celestial feasts began. It was a
Yeneral custom in ancient India which up till now lingers
I some parts that high feasts were accompanied with
music, both vocal and instrumental. As soon as the godly
feasts began the Ud-gatas or the Sama-vedi priests raised
their chants. The whole effect was a magnificent one and
it had a dramatic effect. Well might Bharata say that
Brahma in creating theatres or dramas, took recitation
from the Rg-veda, the songs from the Sama-veda, and
the acting from the Yajur-veda. By saying so, Bharata
indicated that the drama had its origin in sacrifices, or at
elxxvi PREFACE.
least dramas were compared to sacrifices. Bharata also
says that Brahma took rasa from the Atharva-veda, 2.e., the
Veda professed by the superintending priest or priests with
an implied comparison with the manager of the stage.
Everything that is mysterious and cannot be explained is
generally attributed to Atharva-veda; and nothing can be
more mysterious than rasa. One reads a piece of fine
poetry and tears trickle down from his eyes! One looks at
dramatic acting and becomes fired with heroic sentiments 1
The relation between hearing of poetry and seeing of dra-
mma on the one hand, and the tears and heroic sentiments on
the other is a mystery; and this mystery is attributed to
Atharva-veda,—-the Veda of mysteries.
Unlike the criticism from the first four sources which
is merely analytical, the criticism from the fifth source, (it
does not look into the beauties of syllables, words, gen-
tences, their meaning and their arrangement), takeg jn the
whole panorama of the drama and gives directions how to
enjoy it. It is a pleasure to turn from those minute details
with which our rhetoricians generally deal to the enjoy-
ment of rasa and the enchantment of siddhi or
insisted upon in the Bharata Natya-sastra.
Success
The sixth source for the discipline for which the aid
of the rhetoricians is invoked, ig the
maha-kavya. But I am Sorry to
remark that no justice has been done to this class of poetry
by Indian rhetoricians as a rule. HYrom Dandin downwards
many of them have given definitions of maha-kavyas
divided in sargas. Every definition suggests to me the
idea that the author is anxious to include some epic work
of his time into it. There is none comprehensive enough
to include all epics in the definition. Raghu-vaméa cannot
Sixth Source.
|
PREFACE. elxxvii
be included into any definition of any of the earlier writers :
till Visva-natha in the I4th century included it in his
definition,—‘“* Kka-vamsa-bhava bhtpah kulaja vahavopi
va”. No attempt has ever been made by any writer
of rhetoric to show the synthetic beauty of a kavya in the
same way as Bharata has done in his work. Look into any
work on rhetoric, you will scarcely tind two verses taken to-
gether to explain any synthetic beauty ; and the synthetic
beauty cannot be understood except by long quotations.
Bhamaha has often risen to higher criticism, but this only
to find fault and not to explain beauty. He condemned
Dita-kavyas as ‘ayuktimat’; he condemned some work
on Udayana as impossible. ‘The Dhvani-kara and his follow-
ers rose to very high criticism,—in fact have given the
philosophy of rasa, but none of them have ever attempted
to explain synthetic beauty in a maha-kavya.
Bharata’s Natya-sastra,
The earliest author of the Natya-Sastra is said to
be Brahma himself. He took conver-
sation or recitation or dialogue from
the Rge-veda, songs from the Sama-
veda, acting from the Yajur-veda, and the aesthetic enjoy-
ment from the Atharva-veda (Natvya-Sdstra, chap. I, verse
17). This plainly shows that the drama originated after
the composition and the compilation in Samhita form of the
four Vedas. The relation of the Brahmana literature with
drama has not yet been investigated.
Drama was subsequent
to the Veclas.
Its relation, however, with the Sttra literature is
intimate. Panini in his sitras speaks
of two Nata-stitras; one by Silali
(Panini IV, iii, 110) and the other by Krsasva (P. IV,
ii, 111). We do not, indeed, know anything of these
sitras except their names, but they are Nata-sttras
Natya-sutras.
clxxvill PREFACE.
and they presuppose the profession of actors and they pre-
suppose an extensive dramatic literature necessitating the
composition of works on dramaturgy. ‘here was not one
sutra, but two, compiled at different times and in different
countries, as their names are governed by different stitras
and have different suffixes. ‘They were not composed
(krta), for then they would be governed by Panini IV, lll,
116; but spoken (‘prokta’) 7.e., compiled from tradj-
tion (P. IV, iii, 101). This invests the Nata-sitras with
semi-vedic dignity.
Tradition ascribes a Natya-sttra to Bharata also. He
Ja " credited with having composed two
sutras ;—one on dramaturgy and
another on instrumental music. (Uttara-carita, Act 4.)
In the large work in 6,000 slokas called Bharata’s Natya-
sastra, he is the principal interlocutor. It is the largest
work on dramaturgy, nay, on rhetoric and alamkara extant.
It has the advantage of having been commented upon by
no less a person than Abhinava-gupta, one of the best
Kasmarian scholars in the best days of its literary history.
But it is a Sastra and not a sttra. It is written in Sloka
metre and is of considerable extent.
These large works on Sloka metre came
: in vogue after the close of the sutra
period about 2nd century B.C., and there are evidences
to show that this work was written about that time, Por
in chap. X XI, verses 89-90 (Kavya-mala edition) it mentions
Sakas, Yavanas, and Pahravas together; and it is a well-
known fact that these nations were the ruling powers
in Asia and North-west of India from 2nd century B.C. to
2nd century A.D. ;—and instead of writing ‘ Pahlavag? for
Parthians, it writes Pahravas,—so near to the old Greek
spelling of the word ‘ Parthavas’.
Distinetion between
Sutra and Sastra.
PREFACR. clxxix
Literature in the form of interlocution also came in
vogue about this time. In the Maha-bharata and the
earlier Puranas, there are interlocutions in interlocution to
several degrees. But throughout this work, the interlocu-
tion is single, 7.e., it is between Bharata and the rsis. That
also stamps it as more ancient than similar works written
in the form of interlocutions. Even, that form of inter-
locution is absolutely discarded in many chapters.
Another argument of the antiquity of the Bharata
Natya-Sastra is to be found in the
17th chapter of the book, in which
language and dialects are enumerated and_ classi-
fed. In that chapter Sanskrit and Prakrit are spoken
of, not as languages or dialects, but as modes of pronuncia-
tion (pathya). In fact, the chapter opens with this
Statement. Bhasi, according to the position of persons
Speaking it, is divided into four ; as (1) Ati-bhasa, (2) Artha-
bhasa, (3) Jati-bhasa, and (4) Jatyantari-bhasa. In all these
the modes of pronunciation are Sanskrit and Prakrit (v. 30).
According to countries, these bhasiis are seven, v?z..
(1) Magadhi, (2) Avantija, (3) Pracya, (4) Stiraseni,
(5) Ardha-magadhi, (6) Vahlika, and (7) Daksinatya. The
‘Vi-bhasas’ or dialects are seven, viz., (1) Savaras, (2) Abhi-
Tas, (3) Candalas, (4) Sacara, (5) Dravida, (6) Udraja,
and (7) of Jungle people. The dialects not to be used
Ina drama are those of Varvara, Kirata, Andhra, and
Dravida (?) (verse 57). This enumeration and classifica-
tion of languages and dialects seem to precede the com-
position of Prakrit and Pali grammars, and therefore may
be safely placed in the 2nd century B.C., when Patafjali
was writing his Maha-bhasya for the use of the Sistas only
or higher classes, and for keeping off the influence of the
spoken vernaculars.
Bharata’s antiquity.
clxxx PREFACE.
There is a tradition that when Nahusa, an early king
of the lunar race. became Indra or the
lord of Heaven and was entertained by
dramatic performances by Bharata, he
requested the celestial dramatist to give dramatic perfor-
mances on earth. Bharata reluctantly consented and
brought down Apsaras and Gandharvas on Earth. They
remained there tor a long time and had a progeny. When
the progeny grew up, they went back to Heaven leaving
this progeny to perform and act dramas on earth. Their
descendants proud of their celestial origin and of the
success of their art began to caricature the rsig and
they in their wrath cursed them to be Stdras. Thus the
profession came to be regarded as low and the actors as
Sadras. This old tradition is borne out by a statement in
Kautilya’s Artha-Sastra, where it is said, (Bk. I, Ch. 3),
“Sadrasya dvijati-susrisa karu-kusilava karma ca? §o
in Kautilya’s time, the profession of actors was relegated
to the Sadras. This shows that the Natya-sastra in which
the tradition is embodied is a very old work.
The story of Nahusa—
the origin of the Natas,
Chapters XIV and XV of the NatyaSastra treat of
Prosody as a part of vacika, abhinaya
ese eae or acting in words. In these two
“'S el ee chapters, the author follows the chan-
dah-stiitras of Pingala which divides
chandahs into three classes,—v2z., ganac-chandah, matrac-
chandah, and aksarac-chandah. Later writers on prosody,
however, have taken no notice of ganac-chandah. They
were satisfied with two classes of chandahs,—matra, and
aksara. In chapter XXXII, 2, Bharata treats of chan-
dah as a part of gita and calls these chandahs dhruvas. In
this chapter also he follows the lead of Pingala which fact
shows that Bharata is nearer to Pingala in time than other
PREFACE. elxxxi
prosodists. Pingala was the aged teacher of the sons
of Bindu-sira and he must have flourished during the
last half of the 4th and the first half of the 3rd century
B.C. Bharata may, therefore, be placed safely in the 2nd
century B.C. or thereabout,
Bharata’s Natya-Sastra is a Sastra, z7.e., an extensive
work written in Sloka metre like other
Characteristics of the Bi dail :
ad), Sastras. It
Sitra literature.
is not a sutra written
in the form of Vedic stitras of Apas-
tamba, Bodhayana, and others. The characteristics of
ancient sitra literature are:—(1) they are written in
aphoristic style in prose; (2) every section of it begins
with the Ist person plural in future tense of a root in de-
noting either speaking or explaining, e.g., vyakhyasyamah,
vaksyimah, etc.,—(3) it may have karikas to support the
purport of a siitra.
These siitra works are often accompanied by bhasyas
written in classical Sanskrit while there are many Vedic
expressions in the sttras themselves. Kautilya distinctly
Says that he has combined sititras and bhasya in his
Artha-gastra. He calls it a Sastra though it is written
in the sitra and bhasya form. Vatsyayana’s Kama-stitra
IS written in the same style as Kautilya’s, but it is there
called a sutra. Bharata’s Natya-sastra is no sitra in any
Sense of the term; but it has many fragments of sitra
works imbedded in it. One notable instance of this begins
alter the 33rd verse of the sixth chapter and continues
to the end of the seventh chapter. In these chapters
Bharata speaks of a siitra, its bhagya, its samgraha,
its karika, and its nirukta. He defines the last three
in sloka, metre ;—samgraha, in verses 9 and 10, karika, in
elxxxil PREFACE.
verse 12, and nirukta, in verses 13 and 14, chap. VI. He
gives the whole of the samgraha of Natya-sastra in verses
15-33, chap. VI. Here the word samgraha means table of
contents. At the second half of the 33rd verse he says,—
‘<‘T have spoken in brief of a collection of topics (samgraha)
in a work on dramaturgy’’. Then he proceeds,—‘* Now
‘I will speak on an exposition of sutra and its grantha ;—
by which term the commentator means its bhasya (Gaek-
wad—Edtn., chap. VI, 34, and Kavya-mala Edtn. chap.
VI. 32).”’
Then commences a treatise in prose and verse in the
| regular sutra form to the end of chap.
A treatise, written in VII, commencing with—‘‘tatra, rasan
pena ae ata: eva tavad adau abhivyakhyasyamah >
Natya-dastra. As I have said before all stitra works,
| their chapters and sections commence
with the lst person plural of some verb denoting ‘speakin a
or ‘explaining in the future tense’; and in this treatise
such verbs are used at least seven times, showing that
there were aS many sections in this portion of the original
satra work. In this treatise the sutras are accompanied
_ with bhasyas and other explanations and derivations, and
they are supported by karikas. he 9 rasas or aesthetical
enjoyments are defined individually. Their causes, effects, :
and accessory emotions are then enumerated. Tach indi-
vidual case then is summed up in some karikas. Similarly,
the 8 or 9 permanent emotioris, 33 transitory emotions,
8 involuntary expressions of emotions are described ; and
each individual case is summed up in karikas. These
karikas are of two sorts ;—some in the Sloka-metre and
others in arya. In three cases both the Sloka and arya
are quoted :—
*.
PREFACE. elxxxiil
(1) Atraryah slokasca bhavanti—VI. 104.
(2) Atra Slokastavad arya ca—VII. 79.
(3) Atrarya-Slokau—VIIT. 105.
In these instances, Bharata the interlocutor himself
speaks of two sorts of karikas. But there are other
Instances in which both are quoted without Bharata saying.
that they are so, as in the case of hasya-rasa,
both aryas and Slokas are quoted.
where
The examination of this treatise in the Bharata Natya-
sastra leads to the following results :—
(1) The treatise is earlier than the Natya-Sastra and
consists of stiitra, bhasya, nirukta, and two sorts of karikas.
(2) The two sorts of karikas are nearest to the Sastra
in time, though one set may be several decades earlier than
the other.
(3) Earlier goes the nirukta explanations, or the
derivation of technical terms.
(4) Earlier still goes the bhasya.
(5) Earliest goes the stitra itself.
So from the stitras to the Sastra there were five stages
of development and they may have
a aie taken five centuries. The Sutra then
thelgaetre form, may be placed in the 7th century
B.C., ¢.e., about two centuries earlier
than Panini, who bears testimony to the composition of
two Nata-sitras before him,—one by Silali and the other
by Krsasva.
The treatise which is thus imbedded in chaps. VI
and VII of Natya-sastra, speaks of aesthetic enjoyment of
drama. But everywhere in the 58 sections in which it is
divided are given directions to the actors how to express the
bhavas, and so it forms an integral part of a Nata-siitra. In
elxxx1iv PREFACE.
every section there are such directions as ‘‘abhinetav yah’? —
should be enacted :—‘‘abhinayah prayoktavyah ’’—per-
formance shown and ‘‘abhinayet’”’—should perform,—and
so on, .
That the long work in sloka metre is much later than
the sutra work imbedded in it, is evidenced by the fact that
the long work speaks of dramatic rasas as eight. (G.VI, 16.)
The stitra treatise speaks of them as nine. The Gaelc-
wad Edtn, based on 40 MSS. has a
ninth rasa, viz., Santa; which the
Kavya-mala Edtn. based on two MSS. only, has not.
Taking the former as more authentic, as it is supported by
the commentator Abhinava-gupta, it becomes very difficult
to solve the problem of eight or nine rasas in drama, except
on the supposition that in times more ancient than the
Natya-Ssastra, Santa, too, was regarded as a dramatic rasa.
Abhinava-gupta has made an immense effort to establish
that santa, too, is a rasa in dramas and has appealed to
all sorts of authorities; yet he is ‘not convincing, The
arguments of his opponents seem to have greater force than
all his apologies.
Enumeration of rasas.
Reading through the Natya-sastra, we often fnd
fragments of stitras incorporated in it. Beside the treatise
in chaps. VI and VII, there is another imbedded in chaps.
28-32, beginning with—, atodya-vidhim idanim vaksya-
mah—XXVIII. 1. It is, I believe, a fragment of Traurva:
trika sttra by Bharata mentioned in the Uttara-rama-carita.
It also has all the characteristics of a stitra work with
bhasya, nirukta, and karika.
The Natya-Sastra has a chapter on literary criticism.
Literary criticism in It is the 16th chapter of the Kavya-
Bharata. mala Edtn. The figures of speech enu-
PREFACE. clxxxv
merated here are only four. There is no classification of
figures of speech relating to words and to their mean-
ing. The four figures of speech are simile (upama),
briluancy (dipaka). metaphor (riipaka), and repetition
of three, four or five letters in the same order but with
different meanings,—if there is any meaning at alb it is
yamaka. The figures of speech are of the most rudiment-
ary character. There are some rudimentary subdivisions
in upama and yamaka (vs. 41-82).
The dosas or faults of poetic composition are ten only.
(1) Gaudhartha, (2) Arthan-
tara, (38) Artha-hina, (4) Bhinnartha,
(5) Ekartha, (6) Abhiplutartha, (7) Nyayad-apeta, (8)
Visama, (9) Visandhi, and (10) Sabda-cyuta (XVI. 84.)
They are:
Dosas. :
The gunas or excellences of poetical composition are
also ten. They are:—(1l) Slesa, (2)
Prasada, (3) Samata, (4) Samadhi,
(5) Madhurya, (6) Ojah, (7) Pada-saukumarya, (8) Artha-
vyakti, (9) Udarata, (10) Kanti (XVI. 92). In verse 104,
Bharata gives the use of these figures of speech, defects, and
excellences, so far as they relate to rasa in a drama.
Gunas.
In a drama or in any poetic composition, the plot is
- the main thing. The plot is the story;
—the story which runs throughout the
poem is called the Aadhikarika or principal. But there may
be plots within plots or stories within stories; and these
are called prasangikas or episodes. But episodes always
form a subordinate part and help in the development of the
main plot. The main plot is divided into five sections:
(1) commencement, (2) effort, (3) possibility of fruition,
(4) probability of fruition, and (5) fruition. These sections
The drama.
elxxxXvl PREFACE.
come one after another in this order. ‘I'he episodes are not
governed by these five sections.
Apart from the plot, there are five poetical necessities
(artha-prakrtayah). (1) The central idea (bija), the central]
idea gradually develops and ends in fruition. (2) The tie
(bindu). Whenever the thread of the story is lost the
bindu connects them; and this connecting process may be
repeated till the end is attained. (3) Accident (pataka).
It is an unconnected incident which helps in the develop-
ment of the main idea. (4) Detached event (prakari)—
when the accident does not help in the development of the.
main idea. (5) Fruition (karya)—when fruition of the
main plot is accomplished.
There is another point of view from which the plot of
a drama is looked at. From this point of view, a drama is
said to have five limbs. (1) Mukha, in which the central
Nc a sic! idea is mooted. (2) When the central]
SPR Oe ae of a idea seem apparently to be lost, thatie
called pratimukha. (3) When there isa
doubt whether the central idea will be revived or not and
there is a search for it, it is called garbha. (4) When the
central idea comes out of the garbha either by temptation,
by wrath, etc., it is called vimarsa. (5) When the central
idea together with the poetical necessities, mukha and
others is developed, it is called nirvahana or end. Thisisa
synthetic criticism of a drama.
Another piece of synthetic criticism is to be found in
chaps. VI and VII, where the processes by which the
aesthetic enjoyment is developed have been given. This is
a long process; and the aesthetic enjoyment has been gaid
as mysterious by Bharata, coming from the Atharva-veda.
PREFACE. clx xxvii
The mystery would be cleared up in the later history of
the Alankara-Sastra when a third function of words
entitled dhvani or reverberation was thought of.
Kavyadarsa of Dandin.
Kavyadarsa of Dandin as published has three chapters,
and a fourth is mentioned in ITT, 171 entitled ‘* Kala-paric-
chedah.”’ The first three paricchedahs are (I) Marga-vibhaga
(style), (II) Arthalankara vibhaga (figures of speech relating
to the meaning of words), (IIT) Sabdalankara-dosa-vibhaga
(figures of speech relating to words, and defects). Gunas
(excellences of composition) have been dealt with along
with style in pariccheda I.
The name means mirror of literature in which the fame
of ancient kings is so reflected that
the name—“Kavyi- the reflection remains when the things
reflected are gone.
darsa.”’
No hard and fast definition of Poetry is aimed at.
The work defines the body of Poetry
as a string of words with a desirable
Meaning. There may be a difference of opinion as to the
- Meaning of the word ‘desirable’. But that does not
matter. It is the most comprehensive definition of
literature, (and not of Poetry alone), for nobody would
write anything with an undesirable meaning. The body
should have decorations, and these consist in alankaras,
i.e., figures of speech relating to either words or to their
meanings. The author does not aspire to higher definition
of Poetry. He speaks of the utterances of his predecessors
and of usage as his guiding principle. He thinks that the
business of the world is conducted by the speech of Sistas
and of those trained by Sistas. The word Sista he takes
from, I believe, the Great Commentary.
Definition.
al
elxxxvili PREFACE.
After this preliminary, the author goes straight to the
division of poetry according to form ;
z.€., poetry, prose, and mixed. (1) In
poetry he includes not only epics
divided in sargas, but one-verse poems and short pleces
with two, three or more verses. In fact, great stress is
laid in the whole of the Alankara-sastra on the latter form
of poetry. Many of the early Sanskrit and Prakrit poems
are mere anthologies. (2) In prose are included kathag and
akhyayikas. (3) The mixed means and includes dr
(which the author does not intend to treat of) and c
Classification of poetry
‘according to form.
amas
ampu.
Dandin again classifies kavya according to its language.
These are four,—Sanskrit, Prakrit,
Apabhrarm§sa, and Mixed. (1) Sanskrit
he calls the celestial speech. (2) Pra-
krit includes (i) tat-sama, (11) tad-bhava, and (ili) desi.
He names Maharastri as the best of Prakrits in which
are written works like the Setu-bandha. (3) The languages
of Ahiras and others are spoken of as Apabhraméa : and
Dandin gives Brhat-katha as an example ; but takes the pre-
caution to say that Sastra-karas call any language outside
Sanskrit as Apabhramsa. Mixed language is summeq up
cryptically in three words—“ Natakadi tu misrakam’’, The
commentators have explained that this means that Natakas
are written partly in Sanskrit, partly in Prakrit, and partly
in Apabhramsa. This explanation is unsatisfactory ag it js
a form of literature, and not a language. But a better ex-
planation of the above definition is now available, when we
know that there was a mixed language in which the Maha-
vastu-avadaina, the Ratna-saficaya-
eatha, and other works were wholly
and (2) Sad-dharma-pundarika and
(1) Lalita-vistara were partially written. The oldest form
Classification of poetry
according to language.
New explanation of the
‘Mixed’ language.
PREFACE. elx xxix
of Sad-dharma-pundarika as found in the Taklamakan
* desert is wholly written in that language; and it is wonder-
ful that undoubtedly the oldest historical drama yet dis-
covered is written in this language. The drama, I mean, is
Saradvati-putra-nataka by ASva-ghosa found in the same
desert. All post-ASoka inscriptions in Sanci and Mathura
are also written in this language. This language was
first discovered by Raja Rajendra-lila Mitra who calls
it the Gatha language, for, he found it in the gathas of
Lalita-vistara. Senart calls it mixed Sanskrit. He finds
Sanskrit and Sanskritic forms of words in the same
sentence and has written a grammar of it. In Dandin’s
time, perhaps, the dramas used to be written in this
language in the locality in which he flourished.
Languages used in dramas have been enumerated
already when dealing with Bharata. He knows no Maha-
rastri,—he uses the word Daksinatya in its stead. Dandin
uses the word Maharastri. Perhaps in his time it has
become Maharastri, though he also uses the word Daksi-
natya and criticises their methods of writing poetry (Dandin
at 60, I. 80).
The word riti is not used by Dandin. He uses the
phrase—‘ giram margah’ and they are
two only according to him, Vaidarbhi
and Gaudi; though there are many in which there may be
some difference, but no clear distinction. The Vidarbha
‘people were fond of ten excellences while those of Gauda.
their opposites.
Riti.
‘The second chapter is devoted to figures of speech ;
and these are divided into circles, each
Chapter II of Dandin. j os
, circle showing many varieties. The
figures relate to the meanings of words. Of the figures
CxC PREFACE.
relating to words, the yamaka is treated in full in the first
part of Chapter Ill. Then come riddles, 16 in number.
These, the author thinks, are the right ones; the rest are
mere quibbles. Before the riddles and after the yamakas.
come the bandhas or acrostics or letters of a verse made.
into shapes of flowers, vases and so on which are treated as.
sabdalankara. Then come the dosas,—-defects or faulty
words, faulty meanings, mistakes of fact, mistakes of one
servation, and so on.
The author does not mention any poet or critic by
name. But he speaks of his predecessors in Alankara-
Sastra in general terms. Much has been made of quota-
tions, not attributed to any individual author in Dandin in |
recent chronological discussions. But I think, they are,
and will ever remain unconvincing. Historical and se0-
i ig _ graphical statements in a work are
Brea oo ecOn aR: likely to be more to the point. ;
cal statements in Dandin. . o far
as the age of KavyadarSa is concerned,.
I forward two points :—
(1) In the riddle,
‘‘Nasikyamadhya paritascaturvarna-bibhiasita,
Asti kacit puri yasyam astavarnahvaya nrpah ” 7
(IIT. 114),
which means, “‘There is a city in the name of whicht
there is a nasal in the middle and four letterg on the
sides and its kings have eight letters in their titles or
patronymics. The city is Kafci, with a nasal in the
middle and two letters on both the sides. The Bengali
commentator of the 19th century says, the kings were
Pundrakas with eight letters. But this is impossible, inas-
much as Kafici is far--far away from North-Bengal where
the Pundrakas lived. I think, the author means the
Pandyakas who were not far from Kafici.
PREFACE. CXCl
It is a fact that the Colas were the inhabitants
on both sides of the Kaveri. Their ancient capital was
Uraga-pura or Uraiura. There was a time, however, when
the Colas were-not on the Kaveri and Pandyas were lords
in Uraga-pura, their capital. For Kali-dasa says :—
Athoragakhyasya purasya natham
Daubariki devasamipametya.
ItaScakoraksi vilokayéti
purvanuSistam nijagada Bhojyam.
Pandyéyam aimsarpita-lamba-harah.. ..ete.
4 (R. VI, 59)
This shows that in Kali-dasa’s time, a Pandya king
i was ruling in the capital of the Colas. The Kavyadarsa
makes the Pandyakas rulers of Kafici which is several
miles north of the Cola capital. So, if it is possible to
ascertain when the Pandyas drove away the Colas from
their capital and Kafici, it will be possible to ascertain the
age of Kali-disa and of Dandin. It may be asserted here
that Hiuen Tsang about 640 A.D. finds the Colas at
Kadappa 200 miles north from Kajici.
(2) Two kings are mentioned in the KavyadarSa, viz.,
Raja-varma in Chapter II, verse 279, and Raja-sena ITT,
66. The progress of archzological research may bring the
ages of these kings to light. In III, 166, the example
runs :—
Colah Kalaguru-syama-kaveri-tirabhtimayah.
Iti deSa-virodhinya vacah prasthanamidrsam.
This ig an example of wrong country. Aguru never grows
in South-India ; and Cola was far away from the banks of
the Kaveri when this book was written.
C@xXcll PREFACE.
Dandin’s Kavyadarsa had many commentaries in
Bengal in recent times. J[.O. 1128
speaks of one Kavya-tattva-vivecaka-
kaumudi by Krsna-kinkara Tarka-
vagisa of Gopala-pura. Dandin does not speak of raga, ;
yet the commentator says,—rasa is the soul and body of
Poetry, which certainly is not the idea of Dandin. Basa
plays no part in the Kavyadarsa. The commentary was
written early in the 18th century, as the copy available
was transcribed in Saka 1704.
Kavya-tattva-vivecaka-
kaumudi. (1.0. 1128).
Pandita Prema-canda Tarka-vagisa, the first Bengali
Professor of Alankara in the Sanskrit College, Calcutta,
also wrote a commentary entitled ° Malinya-profichanj >, in
which also he says that the utterance of Sood poets
delights the heart at every step by dhvani or reverbera-
tion. The idea of dhvani or reverberation ig at least
500 years later than the time of Dandin. Thege come
mentaries may be good treatises on alankarag at the
time of the writer, and they may expound the ideas of
the author by more advanced ideas of later times, but
they are not historically true commentaries. They may
show uncommon rhetorical acumen, and may have done
useful work at their time, but as an exposition of the
text they are at best unreliable.
Kavyadarsa-vyakhya by Taruna Vacas-pati forms the
number 12834 of the Mad. Catalogue.
Kavyedarsa-vyakhy® 74 eomments on the first three paric-
(Mad. 12834).
chedas only.
Another commentary of the Kavyadaria is entitled
Hrdayangama the author of which
Uday angame is not known. These two are known
(Mad. 12833). :
as ancient commentaries.
PREFACE. CXCLIE
Kavyalankara of Bhamaha.
Bhamaha’s Kavyalankara is perhaps the most import-
ant work on rhetoric yet found. It
has been described in No. 12920 of the
D.C.8. MSS. of Madras. The only MS.
available is this one, from which in 1909 Prof. K. P. Trivedi
published the work in an appendix to Vidya-natha’s
Pratapa-rudra-yaso-bhisana in Bombay Government Sans-
krit Series. Two young graduates, Batuka-natha Sarma,
M.A., and Bala-deva Upadhyaya, M.A., have published it
in Kasi Sanskrit Series
its chronology.
Bhamaha's Ikavya .
lankara.
with a long introduction discussing
We know nothing about the author, Bhamaha, except
this, that he was the son of Rakrila-gomin from the last
verse of his work. Bhamaha divides his work in six chap-
ters and five heads :—
(1) Chapter I in 60 verses, treats of the body ot
poems.
(2) Chapter II and IIT in 160 verses, treat of Alan-
karas.
(3) Chapter IV in 50 verses, treats of dosas or detects
of composition.
(4) Chapter V in 70 verses, is written on Nyaya.
(5) Chapter VI in 60 verses, is written on the purity
of speech.
As he has projected the subject matter of chapter IT
into chapter III, I see that he has projected that of chap-
ter IV into chapter V. Though he calls chapter VY Nyaya-
nirnaya, it is really a projection of the 4th chapter. Nyaya
comes in in connection with the defects of writing. I think
the 6th chapter also is a projection of the 4th. It treats
of purity of speech ; 7.e., absence of dogas.
CXCiV PREFACE.
Bhamaha’s classification of poetry is given in English
by Dr. De, and I quote it, because it
clearly sets forth Bhamaha’s ideas :-——
“Then follows the classification of poetry—
(<) according to form, into poetry or prose;
(ii) according to the language employed, Sanskrit
Prakrit, and Apabhram$a ; :
(417) according to the subject matter, into fourfold
divisions :—
(1) So far as it deals respectively with incidents
human or divine;
(2) incidents invented by the poet’s imagination :
(3) incidents based on the several arts, and (4)
sciences.
(cv) according to the conventional way of grouping j
compositions into fivefold recognised dia
sions, 022Z.,
(a) sarga-vandha (maha-kavya) ;
(6) abhinayartha (drama) ;
(c) akhyayika ;
(d) katha; and |
(ec) anibaddha kavya (2.e., detached poems like
gathas or individual Slokas), ”
After this Bhamaha in I, 30 says,
“VYuktam vakra-svabhaboktya sarvamevaitad isyate.
Vaidarbham anyad astiti manyante sudhiyépare.”
All this certainly seems to be connected with expressions
humorous and plain. This seems to be a fifth classifica.
tion of kavya by Bhamaha according to the manner of
expression. :
Bhamaha’s classification.
Comparing Bhamaha’s classification of kavya with
that of Dandin we find that he discards
the misra form of poetry and the
misra form of language. Dandinte »
Bhamaha, an improve-
ment on Dandin.
SS
«4% es >
PREFACE. exev
description of poems in prose and poems in verse, Bhamaha
divides under a different principle, vz., external form.
All this seems to be an improvement on Dandin.
The essentials of poetry are again divided by Bhamaha
in svabhabokti and vakrokti, or in natural speech and
crooked speech, or in plain words and humorous words.
This is a new principle of division and it is also an improve-
ment on Dandin who includes both these in Alankara.
Bhamaha’s classification of poetry according to the
nature of subject introduces a new element which is want-
ingin Dandin. The Sastrasraya kavya and the Kalasraya
kavya were peculiar ideas of Bhamaha, not to be found in
the Alankara Sastra.
The margas of Dandin, Vaidarbhi and Gaudi, are
not accepted by Bhamaha. He does not think these to
be different modes of writing. He tolerates the margas
as a matter of tradition. He lays some stress on the
humorous way of writing poems (I. 31-33).
Dandin does nowhere in his work aim at higher and
general criticism of poetry. In the
courts of Indian princes, in the present
day, there are poets who form castes; who are experts in
composing extempore verses and short extempore poems.
Dandin seems to have laid down rules for the discipline of
this sort of poets, who certainly existed in ancient times
also, perhaps in greater exuberance. He is more concerned
with verbal criticism, criticism of forms, and figures of
speech. But Bhamaha often aims at general criticism.
He considers the practice of poets to send as messengers
inanimate objects like the cloud, air, and the moon, and
The aim of Dandin.
exevi PREFACE.
sentient beings without speech, as bees, parrots, ducks, doves,
and others as unreasonable. How could they do the work
of a messenger is not understood. But if the sender of the
message becomes mad or insane owing to anxiety, such
actions may be tolerated; and many intelligent poets have
used this sort of messengers. So Bhamaha does not ap-
prove of the dita-kavyas, but tolerates them. Dandin
does not say a word about them.
Much has been made by modern critics from these
statements of Bhamaha to speculate
whether Bhamaha knew Kali-daga’s
Megha-dita. From Bhamaha’s wordings, in verses 4244.
of chapter I, it is clear that in his time there were many
dita-kavyas,—for Bhamaha enumerates seven animate
and inanimate objects sent by these poets ag messen-
gers. It is well-known that a lady in love in Ghata-
karpara’s short poem sends the cloud as her messenger
to her lord; and the message ‘was successful as the lord
returned after a few days. So, in Bhamaha’s time, there
were many Dita-kavyas ; but he does not approve of them
as they were unreasonable, but tolerates them if the sender
of the message is mad on account of passion or anxiety.
In the case of Ghata-karpara’s lady in love, she makes the
cloud her messenger only when her heart was on the point
of being pierced by the arrows of Madana. This fact may
be an excuse for the lady to take such an unreagonable
step. Under these circumstances one cannot be gure
whether to save Kali-dasa from the charge of unreasonable-
ness Bhamaha adds ‘mad from anxiety’, or Kali-dasa adds
the same idea to escape from Bhamaha’s criticism.
Bhamaha and Kali-dasa.
Another instance of Bhamaha’s general and higher
criticism of poetry is that he finds a number of improba-
PREFACE, CxCVli
bilities in the story of Udayana. (Bhamaha, IV, 38-46.)
Udayana with all his cleverness could not distinguish
between a real elephant and an artificial elephant made to
serve a purpose. This is impossible; because Udayana
himself was an expert in Hasti-Sastra. His faithful com-
manders allowed him to enter into an enemy’s territory
without a guard. This is also an impossibility. Hither
his commanders were not faithful, or he neglected the
dictates of Niti-Sastra or politics. The enemies surrounded
him, threw arrows at him, threw all sorts of missiles at
him and howled terribly saying, **This fellow has killed
my son! This fellow has killed my father! This fellow
has killed my brother!’’ But they didnot kill him. This
is beyond the limits of probability. Such improbable
things should not be written in sane poetry.
Other instances of higher criticism are given in
V, 36-44.
From these instances of higher criticism meant for the
discipline of great poets and writers of epic and other
poetry, Bhamaha seems to be much in advance of Dandin,
who writes only for the guidance of court poets, who
indulge in one verse poetry and short pieces.
As for the question whether Kali-dasa preceded Dandin
and Bhamaha, or they preceded him,
it is enough to say that none of them
names Kali-dasa, nor quotes any pas-
Sage well-known to belong to Kali-dasa, though Bhamaha
names a number of poets and critics before him. In this
matter, I will quote a passage from the great Sanskritist
Mahamahopadhyaya Gana-pati Sastri: ‘‘Bhamahacarya, it
seems to me, must have preeeded Kali-dasa, for while he
Dandin, Bhaimaha, and
Kali-dasa.
eCxXevill PREFACE.
mentions names of such poets, poems, and critics as
Medhavin, Ramasarmé, ASmaka-vamsa, Ratnaharana,
Acyutottara,—all unknown to us; he has never named ~
Kali-dasa well-known to us and of world-wide fame, or
of any of his works of supreme excellence’’.
Bhamaha seems to have been a purist in the system of
Sanskrit grammar and a great admirer of Panini. He would
not approve anything not sanctioned by Panini. He thinks
that the only person who has crossed the ocean of Sanskrit
language is Panini. These statements stamp him as
flourishing at a time when Panini’s grammar was revi
long before the revival of the Great Commentary in ine
7th Century by Bhattr- hari. ;
The religion of Bhamaha is a matter of very creat
doubt. Some say, he was a Buddhist
others say, he wasa Hindu. ig book
opens with an invocation to ™ Sarvam Sarvajfiam’?. The
word Sarvajfia is applied to Buddha, but is algo applied to
Siva, as in the case of :—
<‘Devadevam pranamyadau Sarvajiam Sarvadarsinam
Katantrasya pravaksyami vyakhyanam Sarvacann f
kam.”’
Bhamaha’s religion.
in the mangalacarana of Durga-simha’s commentary on
Katantra grammar. But the adjective “Sarvam” civen
in Bhamaha’s mangalacarana, according to his VI, 53;
means “ beneficent to all”’, z.e., to all sentient beings, This
adjective may appropriately apply to Buddha. In the
first half of his fifth chapter, he shows deep acquaintance
with Buddhist logic. To him the pramanas are only two;
viz., perception and inference, as in Buddhist logic. His
definitions of these two pramanas are taken from the same
source. This looks as if he was a Buddhist.
°
PREFACE, CXCIN
Against this it may be said that he takes no example
from a Buddhist work on poetry: and he is opposed to the
theory of Apoha,—a favourite theory of the Buddhists,
governing the relation between words and their meanings ;
and Santa-raksita and his commentator Kamala-Sila, in
the 8th century take a good deal of care to refute his
theory.
But, Bhamaha speaks of Sastrasraya kavya in his
Classification of kivyas according to subject. We know
of no SastraSraya kavyas among the Brahmins. But
there are Buddha-carita and Saundarananda kavyas
among the Buddhists based upon Sastra. As regards
Apoha, one section of the Buddhists only was adherent to
Apoha but not all (vide Foreword to Gaek. Edtn. of Tattva-
Sameraha, IXNAIX). But VI, 10.—in which Bhamaha
says that samudaya or collective unity is not anything else
but samudayi or collection of unities; and gives as ex-
ample that a house is not different from walls, wood, and
the land,—stamps him as a Maha-yana Buddhist who
believes in trees but not in the forest.
He seems to have preceded the Buddhist commentators
of Panini in his admiration of that great sage, to the exclu-
sion of Katyayana, Patanjali, and others.
I have told before that the various classifications of
kavya in Bhamaha are an improve-
ment upon Dandin; therefore Dandin
is earlier than Bhamaha,
Dandin and Bhamaha.
But Dandin in his III, 127, after enumerating the
dosas in the same words as Bhamaha and numbering them
ten as in Bharata, says :—
CC PREFACE.
‘¢Pratijna-hetu-drstanta-hanir-doso na vetyasau.
Vicdra-karkasah prayas-tenalidhena kim phalam.’?
And Bhamaha in IV, 2 says :—
‘‘ Pratijia-hetu-drstanta- hinam dustam ca nesyate.??
A fierce controversy is raging round these two passages ;
some say that Bhamaha is earlier and he considers Pratij-
ia-hetu-drstanta-hani a dosa and therefore should not be
used. But Dandirrsays, it is a dry controversy whether itqe
a doga or not; what is the good of our licking it? The
supporters of Bhamaha’s priority quote another vere
Bh. V, 3.— :
‘‘ Svadu-kavya-rasonmisra m Sastramapyupayujy ate
Prathama-lidha-madhavah pivanti katu-bhesajam,”
and say that the word ‘licking’ in Dandin presupposes a
simile of kavya with honey; and here is a paggace jn
Bhamaha that supplies that honey. So Dandin takes the
word from Bhamaha.
Against these I have to say :—
(1) If Dandin and Bhamaha weré the only persons that |
compare sastra to bitter pills and kavya to honey, the
arguments given would stand. But that is not the fact.
It is an old, worn-out and trite simile. It is found in the
last verse of ASva-ghosa’s Saundarananda :—
« Patum tiktam iva ausadham madhu-yutam
hrdyam katham syad iti.”’ |
_ (2) Much stress is laid on the word ‘licking’, Agya-
ghoga uses the word ‘drinking’. *There is not much differ- _
ence between the two idioms. There are bitter medicines
and honey that are either licked or drunk, so ‘licking’ —
cannot have a special significance. Dandin licks, not
honey, but Vicara, the bitter pill.
PREFACE, cel
(3) Bhamaha improves upen Dandin and classifies
| kavyas according to subject matter in which Sast ‘asraya
_ kavya, z.e., poems depending on Sastra figure prominently.
So Bhamaha cannot ignore the defects of this class of
kavya relating to pratijia, hetu, drstanta, etc., and so
includes them among these defects, while Dandin who has
no idea of such classification and does not believe in
kavyas relating to Sastras, can easily waive the considera-
tion of these defects.
|
(4) The controversialists seem to be swayed with the
idea that Din-naga was the first author on Buddhist logic.
But that is not the case. I have shown that controversies
were the order of the day, from 700 B.C. downwards. From
the later Vedic age and the establishment of the six heretical
Schools, controversies between the different sects and schools
Were very common. ‘To control these controversies, and to
lead them through the right path, a discipline grew up
iW under the various names of Vada-Sastra, Katha-sastra,
| Hetu-sastra, Nyaya-sastra, etc., which regulated the as-
| Semblies where controversies were held, classified con-
troversies of different sorts, chastened the language of
controversies, fixed the members of syllogistic logic and
formulated theories about the relation of words and their
_ Meanings. Hindus, Buddhists, and Jains, all contributed to
the formation of this discipline. There is a long tradition
about the development of this discipline. Pratijna, hetu,
and drstanta are three members of Indian syllogism, which
were, at one time, ten, as given in Vatsayana’s Nyaya-
bhasya ;—eight in later times in Asanga who preceded
Dii-naga ;—five in Gautama’s Nyaya-Sastra and three in
Din-niga. Any defects of these members were known
long before Bhamaha and Dandin and long before Din-naga
! and Asanga. The nigraha-sthanas of Nyaya-sttra which
ecil PREFACE.
occupy the second ahnika of the 5th chap., speak of these
dosas. So these dosas cannot be fastened to any particu-
lar individual however great. They were traditional in
Dandin’s time as well as in Bhamaha’s and no argument for
the priority of either of them can be based on the enumera-
tion on these dosas. (Vide, the second article, entitled
Buddhist logic before Din-naga, J.R.A.S., July, 1929.)
(5) Both Dandin and Bhamaha mention the defects of
pratijia, etc. in connexion with rhetorical dosas; and in an
argument about the priority of one to the other this
context may count. But Bhamaha uses * prathamalidha-
madhavah’ in another context where he defends poems
based on sastras. So this statement does not help any one
of the controversialists.
(6) That Bhamaha is in advance of Dandin will appear
plain from the fact that among figures of speech depending
on words, Dandin expatiates on yamakas, vandhas, prahe-
likas, and omits anuprasa altogether. But Bhamaha
makes no hard and fast rule to distinguish between gabda-
lankara and arthalankara. He does not even Classify alan-
karas on the basis of words and their meanings. He includes
anuprasa among alankaras, but discards vandha and prahe-
lika. Even, hard yamakas he would not allow to be included
in figures of speech, and says that if these hard yamakas
which are to be understood by an explanation like sagtras,
are called poems, it is a feast for Pundits and woe to those
who are not Pundits!
The homes of the two authors up to now is a matter of
mere conjecture. Bhamaha is said to
Sem "Sahel and = _be a Kashmerian and Dandin a South
| Indian. Dandin mentions mount Ma-
PREFACGR. CGlLL
laya; he mentions the Colas: he writes riddles on Kanci
and the Pandyas. He knows that the elephants of Kalinga
ate not small like antelopes. In fact the Gaja-Sastra says
that the elephants of Aniga and Kalinga are the largest
(Dandin IIT, 165, 166). So, he may be said to belong to
South India. Though by saying so we do not say much.
Bhamalva, however, takes Malaya from Dandin, and states
that to say that mount Malaya is beautified with pines
bending with its load of fragrant flowers is a dosa. Pines
do not erow in the Malayas: they grow in the Himalayas
only and they never blossom. This knowledge stamps him
as belonging to a land proximate to the Himalayas, —speci-
ally, the western Himalayas where pines grow luxuriantly
Kavyalanrkara-satra-vrtli of Vamana.
= = jen = . . : tira ‘ Vin ea >
Kavyalamkara-stitra-vrtti is not like Dandin’s of
Bhamaha’s works, written in verse.
Vamana writes his Kavyalamkara-
Sitra in modern sitra form, without Vyakhya-syamah,
i prose and he himself supplies a commentary to it, called
vrtti, He divides his work in five books or adhikaranas
and subdivides each book into Adhyayas.
No. Name of Adhikarana. No. of Adhyayas,.
Vamana’s work.
7 = i a 2
1. JXavya-Sarira, a
2. Dosa-dargana .. 2
3. Guna-vivecana.. _ 2
ny. an 4
4, Alankarika ds ee 3
; ; ;
5. Prayogika des T 2
The age of Vamana is well known. Abhinava-Gupta
in the 10th century says that Vamana
is prior to Ananda-vardhana who
flourished in the 9th century. Some people say that, he
was a minister to Jayapida. He is ‘to be differentiated
Vamana’s age.
CClv PREFACE.
from the grammarian Vamana, who is one of the authors
of the Kasika-vrtti. He quotes from all well-known
Sanskrit works, the latest of which are Veni-samhara,
Amaru-sataka, and Hari-prabodha. He is generally placed
in the 8th century—towards the end of it.
Vamana is the great advocate of the riti-system, He
says in J-2-6 “ritiratma kavyasya”
and the word he takes very
in the same sense as the word ‘ style’ in English,
Vamana on riti.
nearly
According to him the ritis are three: (7) Vaidarbhi, (2)
Gaudiya, and (#2) Paticali, named after the countries
in which and in the neighbourhoods of which they were
in vogue. Of these, the Vaidarbhi is the best, becs eam
it» has all the excellences of a poem. Some say that
the other two are mere steps to rise to Vaidarbhi., This,
(Vamana) says, is wrong. The man who is accustomed to
weave hempen threads can never be a weaver of T
silk.
asar
The subjects of Kavya are affairs of the world, different
branches of knowledge and miscellaneous. Vamana divides
Kavya into prose and poetry. Prose, he classifies into three
sorts: (i) (euafa1) smelling verse, (%) (qm) plain words,
(i) (seafwatata) rising and falling with the subject.
Poetry he classifies as single verse and treatises, Of
treatises, he places DaSa-ripa or drama at the head and
says other poems simply follow Dasa-ripa. That is, he
values Maha-kavya, Katha, and Akhyayika less and
places them below DaSa-riipa but does not treat of it.
Vamana has long chapters on the excellences of styles and |
their defects. His chapters on Alankara also are long.
Bhamaha adds a chapter on the purity of speech at the
PREFACE. ecv
_ end of his work, so also does Vamana. He adds a chapter
_ on the use of words and lays down rules for the use of
_ correct words. In this chapter he generally follows
Bhamaha but does not enter into those deep discussions
about the origin of words, their relation with meanings,
ete., which characterise Bhamaha. Vamana, however, lays
down many rules which have been taken very kindly by
___ later rhetoricians.
The book or Adhikarana on Alankara is divided
Into three chapters. In the Ist he treats of figures of
Speech relating to words and these are two only, Yamaka
and Anuprasa. He rigidly excludes the bandhas, which
{
|
$$ ee =
.
appeal to the eye and not to the ear and riddles which
form no part of Kavya. In that matter he widely differs
trom Dandin.
In the figures of speech relating to meanings of words,
he gives the foremost place to Upama or simile and
treats of its varieties. The other figures of speech on
| this head, he regards as something like extension lectures on
| .Upama. He names that chapter as Upamia-prapafica,—
_ Where there is Upama or similitude either expressed or
Implied, direct or indirect,—thereby he excludes from it a
__ large number of figures in which similitude plays no part.
Though Dandi may be called the founder of the riti
school, there is no doubt that Vamana is the most power-
ful exponent of this school after him. To the Riti school,
excellences and defects in words, in their meanings, in
Sentences and in poems are the most important things.
| Alankaras are mere decorations ; they add external beauty
| tothe internal beauty of riti.
In the matter of purity of Speech Bhamaha is all
‘praise of Panini, but he does not quote any sutras of that
|
\
fo
GCyvi PREFACE,
author. But Vamana quoted a number of sitras and he
flourished long after the revival of Panini and perhaps
after the Buddhist commentaries of Panini had taken root.
When treating of the wrong
Vamana’s home. Ep a T=
description of countries, Vamana
quotes this verse, -
ataitafe aret Haat ate famqat |
SAMettcaUIe FI" WIMAAT: |
Mathura is not in the Sauvira country, it is in the
Sarasena country. Sauvira is Sindh and:Strasena is in
Hindusthan proper. The outskirts of Mathura cannot be
adorned: with cocoanut trees which grow only in a salty
soil on the sea coast and walnuts never erow but in
the mountains. So it is very doubtful that Vamana
was a resident of _Kasmira.
UDBHATA.
In Bengal any Sanskrit verse which cannot be
traced to its author is attributed to Udbhata. Any
number of Udbhata slokas may be found in Bengal and
Babu Parna-candra De by collecting them together has -
sot the title « Udbhata-sagara’. In other! parts of India,
Udbhata, however, is a noted name in Alankéara-sagtra,—
often quoted by writers of authority. He is said to have
written a commentary on Bhamaha, entitled Bhamaha-
vivarana, MSS. of which are yet to be discovered. Ud-
phata’s complete work on rhetoric also has only recently been
recovered. The Alankara chapter of his work, Alankara-
sara-samgraha, was, however, published in Roman character
by Colonel G. A. Jacob in the J.R.A.S., '1897, pp. 829-
853. The fragment recovered treats only of the ficures of
speech. Colonel Jacob gives in his index No. If, in alphabe-
tical order, the names of 53 alankaras enumerated by
PREFACR. cevil
Udbhata, though in J.R.A.S., 1897, pp. 286, he counts
them as 41 alamkaras. In index No. Il. he gives the
first and second lines of definitions and in index No. ITI,
the first and second lines of quotations. These quotations
are taken mostly from Udbhata’s lost poem _ entitled
Kumara-sambhava and therefore, Jacob says, relate more
or less directly to the sayings and doings of Siva and
Parvati.
The fragment begins with Punar-ukta-vadabhasa as
a figure of speech pertaining to words. It has six sections
only and ends with Kavya-drstanta alankara. Unlike
other writers on rhetoric, Udbhata does not seem to have
hnished his work with alankara.
The age of Udbhata is supposed to be betore Ananda-
vardhana who quotes from him in the
middle of the 9th century. Dr. Bithler
assigns him to the time of Jayapida of Kasmira, (779-3813
"A.D,), probably in the earlier part of his reign.
Age of Udbhata.
Udbhata is fortunate enough in having a commentator
like Pratiharendu-raja who came several decades after
Ananda-vardhana.
In 1915 the work of Udbhata was published by
the Nirnaya-sigara Press with the commentary of Prati-
harendu-raja. Pratiharendu-raja is to be differentiated
from Bhattendu-raja, the preceptor
of Abhinava-gupta who inspired his
pupil in all his literary efforts. Prati-
harendu-raja knew the dhvani theory well, but did not
believe in it. Dr. De says, ‘“ Pratiharendu obviously
belonged in his views to the older system of Udbhata
Pratiharendu-raja’s
commentary.
Gevill PREFACE.
and did not, like Abhinava, believe in the newly estab-
lished doctrine of dhvani, with which, however, he was
fully conversant. Referring to this new theory of Ananda-
vardhana, Pratiharendu states in one place, (p. 79 of the
N.S. edtn.) that what is known as dhvani, and taken
to be the soul of Poesy by some. thinker is included
implicitly by his author, Udbhata, in the treatment of some
of the poetic figures under discussion and need not be
separately considered.”’—Sanskrit Poetics, Vol. I, pp. 79.
Pratihara seems to be an elder contemporary of
Abhinava. He was the pupil of Mukula and a resident of
Konkana. Mukula is known as the author of Abhidha-
vrtti-matrka.
KAVYALANKARA OF RUDRATA,
Rudrata is a great admirer of poetry. He Says in his
Kavyalankara, I, 5.—temples of gods and other lasting
works of kings endure but for a limited time; the fame
of kings endures by the works of great poets in their .
courts. The rewards of poets, he thinks, are many. By
hymns to gods and goddesses, poets overcome many
difficulties in life. Poetry brings to the poet wealth,
alleviation of evils, extraordinary pleasure,—in short, all
he desires.
Three things are essential in writing good poetry ;—
viz., genius, proficiency in Sastras, and practice. Genius
is of two kinds,—natural and acquired. Of these, the
natural is more valuable. Proficiency means proficiency
in grammar, prosody, fine arts, knowledge of the world,
lexicons and import of words. This proficiency means
almost omniscience. Practice should be constant and
under the guidance of good men and good poets.
e
f
t
PREFACE. ecix
The definition of Kavya as eiven by Rudrata is the
same as that given by Bhamaha,—* Sabdarthau Kavyam ’’.
This seems to be a very primitive definition. Rudrata treats
of sabda first and artha afterwards. Rudrata is very bold
inhis theories. He overrides the fourfold division of words :—
nama, akhyata, upasarga, and nipata,—
and adds a fifth—the Karma-prava-
caniya which governs cases of nouns.
A new idea of Rudrata is the two functions of words,—
compound and simple. On these functions he bases his
idea of ritii He says that the Vaidarbhi riti consists
of simple words only, the Paficali uses compounds of three
four words only, the Lati, of six seven words, and the
Gaudi may use compounds of any number of words. From
this, it is clear that his idea of riti is very different from
Rudrata’s definition of
Kavya.
that of Dandin or Vamana, who include dosas and
funas in riti.
According to form, poems are classified as gadya
and padya (prose and poetry), and
according to language (1) Sanskrit,
(2) Prakrit, (3) Magadhi, (4) Sauraseni,
(5) Paisaci, and (6) Apabhraméa, the last—differing widely
His classification of
Kavya.
according to countries.
The figures of speech pertaining to words are five:
(1) vakrokti, (2) anuprasa, (3) yamaka,,.
Rudrata’s Sabdalam- (4) SIssne ad (5) citra. He dividese
vakrokti or crooked speech in two
karas.
6
parts. Crooked speech (a) owing to double entendre
(lesa), and (0) by intonation. Rudrata reduces vakrokti to.
a verbal figure; but Bhamaha divides the whole field
of poetry in Svabhavokti and Vakrokti,—v.e., natural
speech and humorous speech. Dandin does not speak of
CCX PREFACE.
anuprasa (alliteration) at all. One, Hari, a Prakrta WTitey
of rhetoric speaks of eight kinds of alliterations, buy
. Rudrata confines them to five and calls them vrtti.
Slesa, which Dr. 8. K. De translates as Paronomasia
and which I should like to translate as double entendre, ‘
according’ to Rudrata of 8 kinds: (1) belonging to letterg
(2) to words, (3) to genders, (4) to dialects, (5) to stems, (6)
to suffixes, (7) to inflections, and (8) tonumbers. Of these
the Bhasa-slesa is peculiar to Rudrata. The permutation
and combination of the six dialects give a large numbe
of varieties of this class of Slesa. The commentato)
improves upon the author, and says,—Slesa of two dialecty
has 15, of three dialects, 20, of four dialects, 15, of fivell
dialects, 6, varieties and Sslesa of all the six dialects
only one variety ;—thus making a total of 57 varieties.
The citras, says Rudrata are numberless, Ty this
figure the verses take the form of swords, clubs, arrows,
bows, stakes, missiles ; sometimes they resemble the sound
of horse’s hoofs, sometimes, the steps of elephants, Tho
prahelikas are included in this.
Four chapters are devoted by Rudrata to verbal
figures and one to the verbal defects.
The 7th chapter opens with the exposition of the
various categories of the Vaisesika system of philosophy,
viz., dravya, guna, kriya, jati, etc., as all these are included
in the connotation of the term artha. ;
Rudrata says that the ideal figures are (1) Vastava,
(2) Upama, (3) Ati8aya, and (4) Slesa (Artha-Slesa),
hag
h
*
at ~_——_
PREFACE. ocx!
Rudrata devotes four chapters (Chaps. VH-X) *
the definitions and descriptions of these
four kinds of arthalankara. There ate
altogether 66 varieties t reated of under those four hone
His arthalankaéras.
Rudrata perhaps gives the largest number of figures:
both verbal and ideal: and his book, Kavyalankara practi-
cally ends with the lith chapter. One of his peculiaritie $
is that he does not treat of the excellences ( gunas ), VEE ‘bal
or ideal, under separate heads. Perhaps he thinks that
tisfied
want of defects is excellence, or perhaps, he 1s sa
With a few directions given in II. 8. — His riti is altogether
independent of guna and dosa.
Though the treatment of subjects promised in the
= opening verses comes to an end ™m
) oo ™ the llth chapter, he goes on with five
| more chapters (XII-XVI). The com-
mentator Nami-Sadhu prefaces these chapters by saying
that the consequences of writing a poem accrung %°
the poet has already been dilated upon. What is the etiect
i of poetry on the hearer? The answer is—the attainment 0 ot
} the four desired objects by mild and easy methods: to
attain which methods poems should be made with great
; care and full of wxesthetic enjovmenis. These enjoyments
are not eight, as in Bharata, but ten ;—Santa and Preya
being the additional two. These ideal rasas are like plysi-
cal rasas, sweetness, etc., and because resignation of the
world and devotion to deities are also Sri ovens. they
are regarded as rasas.
are
—_—
sr
The first rasa treated of is Love, and in that connexion,
| the heroes and heroines, and their classification are given 1n
great details. The heroines are of 384 different kinds.
(But this is given in verses that are regarded as interpola-
tions by the commentator).
Cexll PREFACE.
The 13th chapter is devoted to the enjoyment of
company and the 14th to the absence of lovers. The
15th deals with other rasas. The 16th chapter is rather
curious. It opens with an enumeration of the four objects
of desire and in a poetical work these should be treated
of as mixed with esthetic enjoyments. A poetical work
may be a Kavya-katha, Akhyayika, Kulaka, Nataka, and
so on. It may be classified as original or derived and
as long or short. Im an original work, the poet not
only creates the plot, but also the characters of heroes and
heroines. In a derived work, the author takes the frame-
work from history and fills up the rest from his imagination.
In big works, the four objects of desire are dilated upon
and all the rasas are included ; in shorter works, any one of
the objects of desire may be treated of ;—the raga may be
one fully described or many partially.
The author then gives a long description of a Maha-
Kavya. ‘The description agrees with
mE ce. and that of Kaphphinabhyudaya, written
7 at Kasmira at the end of the 8th
century. Katha and Akhyayika have also been described 2
but there is nothing very peculiar in them. Katha should ~
be written exclusively in easy prose—tull of alliterations,
and Akhyayika may be written in Sanskrit or in other
languages and in all these cases prose should be employed.
Rudrata by his name appears to be a resident of
Kasmira. ‘here -was a good deal of
differences of opinion regarding his
date. But Dr. 8. K. De after much
discussion tries to place him in the first quarter of the
9th century. Rudrata was perhaps contemporaneous with
Ananda-bardhana; this supposition becomes all the more
Time and place of
Rudrata.
PREPACR. Cexili
‘Strong when we find that neither quotes from the other.
Rudrata was a great thinker and very bold in his opi-
hions.
; Rudrata has three commentators ;—the earliest of
them is Vallabha-deva of KaSmira who
C sOrs '
ommentators of belonged to the lst quarter of the 10th
Rudrata.
century and wrote many comment-
Aries on standard poetical works. His grandson, Kaiyyata,
Gp ee
Wrote a commentary on Ananda-vardhana’s Devi-Sataka in
977-978 A.D. The next commentator is Nami-sadhu, a
Mendicant of the Svetambara Jaina community and be-
longed to the Thara-padra-gaccha. He says that the com-
Mentary was composed in 1069 A.D. The 3rd commenta-
tor is Asa-dhara, mentioned by Peterson in his 2nd Report,
He belonged to the period of the Muhammadan conquest.
a | ; He was born in the country round Sambhara lake Which
a belonged to Prthvi-raja. After the overthrow of that
Monarch, he went to Malava and lived at Dhara where
he wrote many works and acquired great celebrity,
cea = Peas er
ae *
Ee
RUDRA-BHATTA’s SRNGARA-TILAKA.
Smmgara-tilaka by Rudra-bhatta is a work in three
Chapters, TJ. Sambhoga-srigara, IT. Vipralambha-srigara,
| ITI. Hasyadirasa-niripana,—in 96, 70, and 57 Karikgs
| respectively. The lst chapter contains the classification of
| heroes and heroines, the 2nd, various causes of Separation
| and its sufferings ; and the 3rd, all other rasas, the distriby-
tion of the four vrttis among the rasas, the relation of the
rasas to each other, and an examination of the bhavag.
The work ends with the defects of poems in the matter of
the development of rasas. The object of the work jg the
raining of poets and lovers.
A —
gake Rudra, with giving directions to poets and lovers.
PREFACE.
eexiv
The author does not give us any information about
é himself. He is often confused with
Rudrata and Rudra- Rudrata ; the reason of this confusion
ae is that Rudrata also treats of the rasas,
but in the last four books of his work only. His Karikas,
however, are in the arya, while some of the Karikas of
Rudra-bhatta are in the sloka, metre. Their points of
view are also quite different, and the illustrations in
Rudra-bhatta’s work are very superior. The point of
view of Rudra-bhatta 1s :—
Prayo natyam prati prokta Bharatadyai rasa-sthitih |
Yatha-mati mayapyesa kavyam prati nigadyate || I. 5.
Tasmad yatnena kartavyam kavyam rasa-nirantaram |
Anyatha gastravid-gosthyam tat syad udvega-karakam ||
I. 38
The point of view of Rudrata is quite different. He
is a vhetorician first and a poetician afterwards. After™
finishing all about poetry, he takes up the benefit to be
derived by hearing poetry ; and these are the four oreat
aims of human life. He is not content, like his name-
g e
Ag Hema-candra quotes from Rudra’s work, he must be
an ancient author belonging to the 10th or Lith century.
While treating of Agni-Purana in the preface to my fifth
volume, I excluded from my considera-
tion its chapters onAlankara, JT re-
served these chapters for treatment here. For reagons,
detailed in that volume, I have placed the Agni-purana in
the 9th century, and the chapters on Alankara simply 7
confirm my conviction. These chapters give us a com-
prehensive idea of kavya literature not to be found ine
Agni-Purana.
;
;
e
PREFACE. CCX V
| ancient writers. They treat of Kavya and Nataka in the
same breath and do not exclude Nataka like Dandin and
Bhamaha, and even like Vamana. It would have been very
‘ interesting and instructive if we could get the treatise
or treatises from which the Agni-purana has made its
¥ abstracts.
oat Agni-purana gives a comprehensive description of
vo Vanmaya, %.€., literature both spoken and written. It
Re Consists, the purana says, of sounds, letters, words, and
| ¥ . Sentences, in which Sastra, (scripture), Itihasa (History),
and Kavya (poetry) are written. In scriptures the words
predominate and in history facts predominate, Kavya
differs from them, in so far as in it, the meaning pre-
dominates. The puraina takes the definition of Kavya
from Dandin, but adds, that it should be full of excellences,
free of detects, and decorated with figures of speech.
a
Kavya has three sources, the vedas, knowledge of the
world, and original invention. The
purana classifies Kavyas according to
their form, into prose, poetry and mixed. In this it
Br clices Dandin though the order of its classification is
different from his. Prose, the purana defines, just as
Dandin does, as a string of words without quadrants.
But its sub- classification. has been taken from Vamana.
Prose may be simple, full of long compounds, and smelling
versification. The sub-classification of prose according to
form is fuller here than in any of the three ancient writers.
Prose works consist of Akhyayika, Katha, Khanda-katha,
Parikatha and Kathanika. He gives definitions of all
these five, but no examples.
Sources of Kavya.
ee a
~ = ¢
. a ' y — :
In treating of poetry, the purana treats first of
prosody and in this matter it strictly follows Pingala.
eexvl PREFACE.
Just as Pingala quotes Kasyapa, so the purana also quot
Kasyapa, and in this connection the purana quotes ony
Dandin ;
“ar taqt ately at Me AIPAML ”? |
Poetry it classifies as (1) Maha-kavya, (2) Kalapa, (3
. Paryabandha, perhaps Brajya-bandh,
(4) Visesaka, (5) Kulaka, (6) Muktaka
and (7) Kosa. But it says that Maha-Kavya shoulg
always begin with Sanskrit. If it gives up its Sanskyiy
character and takes up a Prakrta form, it should be th
Tat-sama Prakrta. In that case, it will not be regardeg
as a great defect. This statement, I believe, means that
Tad-bhava and Desi Prakrta should be avoided by al
means.
Classification of Kavya.
After giving elaborate description of the prose and
poetic literature, the Purana sums up the mixed literatuys
in the following three lines, in chapter 336, verse 38.
amewantas aa afgataal |
fas aufcfa qa uatafafa a feat
wasqihaaaa gana aneattat: |
This ig an obscure passage, the meaning jg by no
means clear. If it says anything, it says, that in every
canto there may be different metres and it should hava
the substance of what is to follow and that the misra, or
minor, literature may be divided into two sections, Vapu
and Prakirna. The Prakirna may be written In all
dialects and may appeal to the eye or to the ear,
It speaks of twenty-seven forms of Dramas. Bharata
has only ten, while Visvanatha, has
twenty-eight. The source or sources
of dramatic compositions above ten is not known. But the
Drama in Agni-Purana
PREFACE. cexvii
Purana gives a description of what is common to all sorts
of dramatic composition. These common things relate
generally to what is called Pirva-ranga, t.e., what precedes
the actual performance of a drama or before the dramatis
personze enter the stage. It also gives the different parts
of the story. The different efforts by which the story is
Tepresented and also the different sandhis or ties which
bind the parts of the story together. The Purana confines
the stories to India and to the three Yugas which have
passed.
The chapter on Rasas is prefaced by four verses de-
scribing the process of evolution of
Rasa from Brahman. It says, that
the Supreme Brahman is Indestructible, Eternal, Unborn,
All-pervadine. In Vedantas, it is called the One, the
Vital Principal, and The Light. Pleasure is inborn to it.
It is never manifested. its only manifestation is named
Camatkara-rasa, or Wonder. Ahankara or egoism is
its first evolution. From that comes the idea of self and
from that idea of self comes rati or pleasure with the help
of momentary and other feelings. Rati is developed as
Srigdra-rasa. With this preface the Purana proceeds with
the usual enumeration of rasas and bhavas.
Rasas in Agni-purana.
According to this Purana, the ritis are four, namely,
Paficali, Gaudi, Vaidarbhi, and Lati.
These Ritis relate to literary composi-
tions. But to Dramatic action belong four vrttis or modes
of action (1) Bharati, (2) Arabhati, (3) Kausiki, and (4)
Satvati. Bharati is so called because it is attributed to
Bharata. It is full of talk, the actors are men, there are_
few females who talk Prakrta. The mode of action called
Arabhati consists of magic, fighting, and all that produces
Riti in Agni-purana
. cexvill PREFACE.
a feeling of wonder. The Agni-purana has a long chapter
on the motion of the body in dancing in theatres and
another long chapter on acting. Acting according to Sanskrit
authors is of four kinds, (1) relating to words, (2) relating to
the motion of hands, etc., (3) relating to emotion, and (4)
relating to dress, etc. Bharata gives details about acting
for the development and manifestation of rasa and bhava.
Agnipurana’s summary is not taken directly from Bharata
but from some work intermediate between Bharata and
itself. Agni-purana’s summary of Sabdalankdara, is unique.
It recognises nine classes of sabdalankaras or fleures relat-
ing to words.
(1) Chhaya, (2) Mudra, (3) Ukti, (4) Yukti, (5) Gump-
; hana, (6) Vakovakyam, (7) Alliteration, (8) Picture, (9)
Duskara, or hard nuts. Of these alliteration inelydes
Yamaka; and hard-nuts include riddles.
Of the figures of speech relating to meanings of words
Agni-purana admits eight 3
wie a fiah the first is Svubligeokit oan i
- painting of nature. This is not regarded as an Alamkara
by many rhetoricians. ‘Some divide the whole field of
literature into Svabhavokti and Vakrokti.
as
Agni-purana recognises some figures of speech as
belonging to both words and _ their
BeneyelamaBras. meanings ; these aresixinnumber. Tt
is in connection with the last Abhivyakti that the Agni-
purana brings in the two functions of words, denotation
and implication, Abhidha and Laksana. The third func-
tion of words is not admitted by the Purana, it is called
teverberation or Dhvani. But in the last line of chapter
345, it uses the word Dhvani.
“gylandaag vata wafafaa ” |
>
PREFACH. CCX1X
This line has no connection with the previous line, yet
the editor has put three lines together in the last
verse.
As an ugly woman without any grace or charm is not
appreciated, so, Kavya with many figures of speech is not
appreciated if it is without grace or charm. These graces
or charms are called Gunas or excellences. ‘These are
charms of composition:—the arrangement of words,
their expressiveness, their flow, and their melody. The
abundance of compound words in Sanskrit makes the
various arrangements of words in a composition rather
beautiful and the Sanskrit rhetoricians have taken full
advantage of this incident of their language. From these
excellences some rhetoricians have built up their ritis or
Styles of writing.
Sanskrit rhetoricians are very particular about detects
in composition. One of them says that the slightest
fault should be avoided in a Kavya as a small patch of
white turns a handsome person into a loathsome one; and |
they are very particular about defects of composition.
They would not allow a single ungrammatical expression,
tautology, use of unusual words, use of words in unusual
meanings, far fetched meanings, etc., either in words, in their
meaning, in sentences, and even in treatises. A hard
compound in a verse on love destroys the whole beauty of it,
and so it should be avoided. Disjointed sentences,—unless
spoken by little children, mad men, or drunkards are to be
tabooed altogether. In this way even minute faults are
registered in Sanskrit works. But they also admit that
some faults of expression under peculiar circumstances
turn into excellences. Tautology is always intolerable but ite
can be very well used in adding emphasis and in contempt,
a
cexx PREFACE.
e.g., “Go! go!”. The second “g° > is tautologous but it
is used with effect.
KAVYA-MIMAMSA BY RAJA-SEKHARA.
Kavya-mimamsa is not a book on rhetoric, nor one on
Poetics, but it is the work of a sreat
Age of Raja-Sekhara. poet arid 2 great critic, embodying the
best traditions of Indian literature from the earliest times.
Raja-Sekhara, the author, was the tutor of Mahendra-pala,
the Gurjara-pratihara king of Kanauj. He was also
patronized by the King’s son. His time is therefore
well known. His literary activities ranged from 880-920
A.D. He belonged to a family of literary men for many
generations. His father was Durduka or Duhika, Nothing
is known about him except the fact that he was a minister
to some king. Raja-Sekhara’s TOUREY § name was Sila-
vati. His sreat-grandfather was Akala-jalada, famous for
his verses. One dramatist, Kadamvari-rama, became
famous by stealing Akala-jalada’s verses. Surdnanda,, one
of his ancestors, was the court-poet of the Cedis. Tarala,
another of his ancestors, was a poet. Raja-Sekhara has
thrice quoted from the work of his wife Avanti-syndari
who was a poetess or a rhetorician.
Raja-Sekhara’s caste was rather anomalous. He seems
to have been a Brahmana but married
His lineage. the girl of a Cauhana family. The posi-
tion of the Yayavaras among the Brahmanas is undefined.
They are not to be found among the gotras and pravaras
of the Brahmanas. But Jarat-kart, a wild, weird and
strange rsi who married Jarat-kari, the sister of . Vaguki,
the serpent-king, was a Yayavara. Astika, his son, who
put a stop to Janamejaya’s snake sacrifice, was a Yaya
vara. The Yayavaras are not much to be found in the
PREFAOR, CCXXI
Indian literature till we come to Raja-Sekhara. There
are several classes of Brahmanas whose position in the
society is similarly anomalous. The Bhargavas of Rajputana
are regarded as something intermediate between the Brah-
manas and the Ksatriyas. The great sage Valmiki calls
himself a Pracetasa. But Pracetah, one of the ten Praja-
patis, has no place among the gotras and pravaras of
the Brahmanas. Yet Valmiki was a rsi and a ereat rsi too.
It was in an anomalous family like this that Raja-Nekhara
was born.
He was a man of wide sympathies. The late la-
mented Mr. Dalal, the editor of Kavya-mimamsa, says
that Raja-Sekhara was not a sectarian. He not only
believed in the Hindu Trinity but honoured the founders
of other religions also. .
He was a voluminous writer, though he wrote Sanskrit
in a terse, vigorous, pleasing, and
charming style, his knowledge of the
Prakrits and Vernaculars was deep
Other works of Raja-
Sekhara.
and extensive. He wrote charming works in many of
these Prakrits and vernaculars. He was a Kavi-raja, 2.é.,
he could fluently write prose or verse in many languages, in
many forms of poetry, and could describe many rasas.
His earliest works seem to be Bala-ramayana and Bala-
_bhirata, two dramas. He also wrote Viddha-sala-bhanjika.
Kappiira-mafjari is written in Prakrit. Hara-vilasa 1s
Said to be one of his greatest poems, but it is only known
in quotations. Raja-Sekhara seems to have written a
work on the geography of India from which an abstract is
given in the 17th chapter of the Gaekwad edition of the
Kavya-mimamsa, It is also known that he wrote a
dictionary of synonyms.
eexxii PREFACE.
The Kavya-mimamsa was planned as a cyclopeedia
of Sanskrit literature. It was to be
fa (a ea in 18 adhikaranas or books, of which
only the first has been so far recovered. It is not known
whether the author finished his work. Other adhikaranas
may yet be found. So far we are concerned only with the
first adhikarana in 18 chapters.
In the ist chapter, the author gives the tradition
of the Kavya-mimamsa. The self-
Tradition of Kavya- ) ] : °
- porn gave to his mind-born sons
mimamsa. 8 me Orn SONS and
pupils the science of Kavya-mimamsa
Among these was the Kavya-puruga whom the Self-borp
employed for the propagation of the science. Kavya-
purusa divided it into 18 adhikaranas and distributed them
among his 18 pupils :—
NAME OF ADHIKARANAS. NAME OF PUPILS.
1. Kavi-rahasya = Sahasraksa,
2. Auktika =e o Mukti-garbha.
3. Riti-nirnaya.. o. Suvarna-nabha.
4. Anuprasa .. .s es racetayana,
5. Yamaka se os ‘%
6. Citra ~ ie Citrangada,
7. Sabda-Sslesa o Sesa.
8. Vastava ae ‘3 Pulasta.
9. Upama Mt + Aupakayana.
10. Atisaya a un ParaSara.
11. Artha-Slesa .. a Utathya.
12. Ubhayalankara . Kuvera.
13. Vainodika .. a. Kama-deva,.
14, Rtpaka-niraipana — Bharata.
16. Rasadhikarika asd Nandikesvara.
16. Dosadhikarana ye Dhisana.
i7. Gunaupadanika ie Upamanyu.
peed
@
Upanisat .. ° as Kucumara,
PREFACE,
CCXXill
| a IS iy IMitation of the Kama-stitra of Vatsiyana.
nt Eucre the Kama.-sitra was one sutra under Nandi,
7] Pveta-ketu {1d Babhravya Paiiciala. In course of time, it
| peput to 7 adhikara nas _—
‘ NAME OF ADHIKARA NA. NAME OF AUTHOR.
Sadharana Carayana.
Sampra yogika rr Suvarna-nabha.
ITT. Kan ya-samprayuktaka Ghotaka-mukha.
lV. Bharyadhikarana ial Go-nardiya.
V. Parada rika Ganika-putra.
WAR Vai8ila, ‘ By Dattaka.
VIO. Aupanisadika ea Kucumara.
The story of the
adhikaranas and the
be historical].
Seems to be
down all th
in this list,
splitting up of the Kama-sitra into 7
ir collection into one again, seems to
But that of the Kavya-mimamsa into 18,
an invention of Raja-Sekhara. He has put
© Major heads of his sastra before his time
He has not given the dhvani any place in it.
et In the beginning, the author pro-
ee eye mises to give us 18 chapters, but
| enumerates only 15. They are :—
| Ihe Sastra-sameraha, II. Sastra-nirdesa, ITI. Kavya-
Purusotpatti, IV. Pada-vakya-viveka, V. Patha-pratis-
tha, VI. ArthanuSasana. VII. Vv alkya-vidhi, VIII. Sans
—-viSesa, IX. Kavi-carya, X. Raja-carya, XI. Kaku-prakara,
me XT. Sabdartha-haranopaya. XII. Savi-samaya,
XIV. DeSa-Kala-Vibhaga, XV. Bhuvana-koSa.
|
|
But in the body of the book we get all the 18 chapters.
They are as follows :— iy:
I. Sastra-samegraha, IT. Sastra-nirdesa, IIIl. Kavya-
purusotpatti, IV. Pada-vakya-viveka, V. Kavya-paka-
‘4
}
| @
CCGXX1V PREFACE.
| kalpa, VI. Pada-vakya-viveka, VII. Paitha-pratistha, |
VIII. Kavyartha-yoni, IX. Artha-vyapti, X. Kawvi-
carya and Raja-carya, XI. Sabda-harana, XII. Sabday-
tha-harana, XIII. Artha-harana, XIV. Jati-dravya-kriya-
Samaya-sthapana, XV. Guna-samaya-sthapana, XYJ.
Svargya-pataliya-kavi-rahasya-sthapana, XVII. Dega- |
vibhaga, and XVIII. Kala-vibhaga. |
The 2nd chapter, entitled Sastra-nirdeSa, deals with
the classification of van-maya, 7.e.,
literature both written and oral, into
two broad divisions, Sastra and Kavya. Sastra again
is divided into two sections, the revealed and the made.
In this way it goes on expounding a system of Indian
literature which comprehends within itself all the Sastras,
and all the forms of poetry. Alankara, it declares to
be the seventh anga of the Vedas, fifteenth of the Vidya-
sthanas, and fifth of the Vidyas or Raja-vidyas of Kautilya.
The word Sahitya he defines as :—
“Sabdarthayor Yathavat saha-bhavena vidya, sahitya-
vidya.”
Chapter IT.
The 3rd chapter is a creation of Raja-Sekhara’s ima-
gination. Here he speaks of the Kavya-
purusa and his bride the Nahitya-
‘vidya-vadha. The body of this Kavya-purusa is words
and their meaning. His face is Sanskrit; his arms are the _
Prakrits; his loins are the ApabhramSas; his feet, the
Paisaca dialect ; his chest is the mixed language, his words
are full of sayings, his soul is rasa; his hairs are the metres;
questions, answers, and recitations are his playful words;
alliterations, similes, etc., are his ornaments. He was the
son of Sarasvati, the goddess of learning. She placed him
on a stone-bed in a bush in the Himalayas and went to
Chapter III.
PREFACE. CCOXAXV
bathe. Usanas found him there,—a forlorn little child and
r took him to his hermitage. He addressed USanas in a
| _ Verse, USanas also replied in a verse, and so USanas became
| a Kavi. Valniki pointed out to Sarasvati where her son
| Was and she blessed Valmiki, and Valmiki uttered a verse
When he found one of a pair of birds was killed by a
hunter. Thus Valmiki also became a poet. The Kavya-
Purusa after his marriage with Sahitya-vidya-vadhi, tra-
Velled over the whole of India, and assumed different
dresses in different countries, and spoke in different man-
hers, Thus arose the ritis, vrttis, and pravrttis.
| In Chapter IV Raja-Sekhara distinguishes between
| the poet and the critic, and shows
where they agree and where they ditfer.
He Says, poets are of three sorts; those who are geniuses,
hose who learn poetry from suggestion of others, and those
‘ Vho have to work hard for it.
Chapter TV.
2S
In Chapter V, Raja-Sekhara says that genius and profi-
ciency are necessary in a poet. The
poets are of three kinds,—Sastra-kavi,
i ivyarkavi and Ubhaya-kavi,—they are all supreme in
Sr own sphere. The Sastra-kavis are of three kinds >
| .) those who write Sastra, (2) those who put poetry in
“Stra, (3) those who explain the doctrines of Sastra in
i The Kavya-kavis excell in 8 things :—some: in
R Nposition, some in selection of words, some 1n selection
Meanings, some in figures of speech, some in turn of
| x, cression, Some in aesthetic enjoyment, some in style, and
} ies in explaining Sastra. Those who excel in two or three
Ines of these is a poor poet; in five, is a middling poet ;
id a Maha-kavi excels in all. The essence of poetry is
Make, (maturity), and paika is the result of constant prac-
Chapter V.
——_ —_
—— a =
;
t
}
ti
' vy
nations of the acaryas, of Mangala, of the followers of the’
meanings proceed sentences. Kavya is a sentence with
ccxxvl PREFACE.
tice. But what is paka? After giving the various expla- |
School of Vamana and of Avanti-sundari,—Raja-Sekhara _
says, “‘ Paka is any expression which is approved by lovers
of poetry. It may flow from any sort of words,—but Which
must be relevant to the sentence.” The pakas are of 9
kinds:—(1) nim,—always bitter, (2) plums,—bitter in the
beginning, but tolerable at the end, (3) grapes, —not tasteful
in the beginning but very much so at the end, (4.) brinj als,—
tolerable in the beginning but intolerable at the end, (5)
tamarind—tolerable both in the beginning and at the end
(6) mangoes,—tolerable in the beginning and Sweet at tHe ,
end, (7) nuts,—good in the beginning but bad in the end
(8) cucumber,—tolerable in the beginning but bad, at the
end, (9) cocoanut,—sweet in the beginning and at the end.
Of these nine, the first three are to be avoided. (Grapes of
eastern India are sour throughout.) The next three may be
very good with a little manipulation; but the last three
are always good.
In Chapter VI, Raja-Sekhara treats of words correct
srammatically and meanings settled by _ |
Chapter VI. + We J |
dictionary. From words anq their |
guna and figures of speech. Some say that poetry is all
untrue and so it should not be taught. Raja-Sekhapa Says,
“No.” There is nothing untrue in poetry, Artha-vada
which is not true, is to be found in the Vedas, in tin
Sastras, and in the world, (and not in poetry), There may
be a wrong thing in a poem which comes in the course of
narration.
Chapter VII treats of reading and recitation of poetry —
Sanskrit, Prakrit, and Apabhraméa.
Chapter VII. et GI
Raja-Sekhara approves the pronuncia-
PREFACE. - e@CXxXVil
‘tion of the KaSmirians and lauds to the sky that of the
Paficala, specially of Kanyakubja, and describes humor-
ously the pronunciations of the Dravidas, the Karnatikas,
ete, Some are good in Sanskrit, some in Prakrit, and
_ others in Apabhramé&a.
”
In Chapter VIII are treated the sources from which
Fe. vir the subjects of poems and the modes
ae of writing are to be taken. Some say,
these sources are 12; but Raja-Sekhara says, they are 16.
The 19 are:—(1) ‘The Vedas, (2) Smrti or Law, (3) History,
(4) Tradition, (5) Philosophy, (6) Religion, (7) Politics, (8)
Dramaturgy, (9) Eroties, (10) The Conduct of the World,
(11) Original Composition, and (12) Miscellaneous; to these
Raja-Sekhara adds the following four (13) Propriety,
(14) Propriety of things connected together, (15) Propriety
of things created by imagination, and (16) Propriety
Of mixture.
T
Chapter LX treats of appropriate subjects of poetry.
BE Chabter 1X. Drauhini says, they are of three
or . kinds:-~(1) heavenly, (2) heavenly
_ andbuman, and (3) human. Raja-Sekhara adds four more :
(4) belonging to the nether-world, (5) belonging to the
nether and the middle world, (6) belonging to heaven
_ and the nether-world, and (7) belonging to all the three.
_ Summing up, he says that the range of subjects of poetry ©
is limitless, (nihsimartha-sarthah); and in poetry that
limitlessness should be charming. This is the opinion
of the followers of Udbhata. But Raja-Sekhara says,
: the subjects are not charming by themselves, but it is
the genius of the poet that makes them charming.
Aparajita says, they may be limitless, but the esthetic
enjoyment from them makes them fit for poetry. Raja-
,
CCXXVIli- ; PREFACE.
Sekhara says, “I agree.” Palya-kirti says, whatever may
be the form of the subject, its enjoyment depends upon
the particular character of the speaker. What an
admirer adores, a detraetor censures and an indifferent
man tolerates. Avanti-sundari says, things have no
fixed character, the character is given by the modes of
expression by lovers of poetry. Raja-Sekhara says,
“I agree to both.’’
The 10th chapter treats of the conduct of a
poet and of a king who patronises
him. <A poet should be healthy both
in mind and body, should be well-dressed, and should
be an accomplished gentleman. His house Should be
neat and clean and its surroundings should pe poeti-
cal. There should be places where the poet may sit
undisturbed. He should be surrounded by dependants
speaking different languages, and he should be the master
in choosing the dialects of his dependants. He should
keep writing materials near at hand. The acaryas say,
these materials are the surroundings of Poetry. Raja-
Sekhara says, “‘No, genius is the best Surrounding.”
His daily duties and his routine of work during the day
are given. Some cautions are also given ;—a, poet should
never show a half finished work to anybody, for if anyone
claims it to be his own, where is the proof to show
that it is not his? It should not be read before one
who prides himself as a poet; it will then be crying in
wilderness, and it will be detracted. The ruin of
poetry consists in depositing it with others, Sale, gift,
sojourn in other countries, shortness of life, worms, fire,
‘and water.
Chapter X.
The king should call assemblies of poets. The
assembly hall should be chastely decorated with pillars,
PREFACHRH. CCXXIX
doors, and verandahs. All sorts of scholars. poets, religi-
ous men, and artists should be called together, The
king should in this manner imitate Vasu-deva, Sata-
vahana, Stidraka, Sahasinka, and other ancient kings.
The first conversation should turn on poetry. But
from time to time, Sastra also should be discussed ;
for even honey does not taste sweet unless appetisers
are used from time to time. Successful poets should be
carried in procession in a brahma-ratha with a turban
given as a prize.
Che llth chapter treats of plagiarism of words. Some
of these are to be avoided and others
may be sanctioned. Raja-Selkhara
Says that even one word in two meanings, if taken, from
another poet is a case of bad plagiarism. ‘These plagiar-
isms are so glaring that one need not have any instrue-
tion about them. Other thefts are forgotten in a short
time, but the theft of words are remembered for
centuries, Raja-Sekhara distinguishes between a good
and a bad plagiarism.
Chapter XI.
The 12th chapter treats of plagiarism of meanings
and subjects. The acaryas say that
ancient poets have dealt with all
subjects; there is nothing new. Therefore modern poets
can only improve upon them. ‘No,’ says Vak-pati-
taja. Raja-Sekhara says that a poetic eye by way of
mental penetration can distinguish between subjects old
and new. Even if a great poet sleeps, Sarasvati would
Show him the proper words and proper subjects. But
if a bad poet is always awake, his eyes are always blind.
The great poet suffers from something like congenital
blindness in the matter of things previously described by
Chapters XII and XIII.
CCXXK 6 PREFACE.
others. But in other matters he has celestial eyes-
What poets see with a pair of human eyes, cannot
be seen even by gods with three or thousand eyes. The
whole universe is reflected in the mirror of their mind.
Words and subjects vie with each other in presenting them -
selves before these high-souled people, to be seen first of
all. What the Yogins see with the concentration of their
mind, the poets express in words. Good sayings come 1n
crowds to them. ‘All this is true,’’ says Raja-Sekhara.
But we read of three different sources of poetry :-—(1) that
ot which the source is the older poets, (2) that, the source
of which is concealed, and (3) that of which there is
no source. The first may be divided into two: (i) what
looks like a reflection, and (ii) what looks like a picture.
The second also is divided into two: (i) ‘identical, and
(ii) like the entrance into a foreign city’. All these four
are forms of plagiarism. Each may be divided into 8
sroups, —making altogether 32 groups. Description of
these 32 is projected into the 13th Chapter.
Chapters XIV and XV treat of poetical licenses,—
: technically called Kavi-sams 2
Chapters XIV and XV. ey y © Ravi Samaya (con
ventions of poets) in Sanskrit. They
are well known from other treatises of rhetoric.
The 16th Chapter treats ot the conventions of poets
about the heaven and the under-world.
Chapter XVI. .
r Just as in the moon, the hare and
the antelope are regarded, .as one, just as love is regarded
as a personality,—and so on.
The 17th chapter treats of the divisions of countries.
The whole universe comes within its
Chapter XVII. ; a.
purview; and the world is divided
PREFACE. CCXXXI
ro
Into the heaven and ‘bhe earth. The nether-world also
“omes in. There are 7 heavens, 7 islands, and 7 nether-
. Worlds >—making a stad of 21. The central island on
the earth is called the Jambu-dvipa; it has 7 varsas or
Countries, the southernmost is called Bharata. One who
conquers all the countries from the southern sea to the
4 Himalayas is a Samrat; and one who conquers all the
Countries from Kumari to Vindu-sarah is a Cakra-
Vattin. Provinces of India are given in great detail
With the names of their districts, rivers, mountains, and
| their products. Directions are given, north, south, east,
_ and west from Kanya-kubja. The colours of the people
of different provinces are also mentioned. But all this
is given from the point of view of a poet, and not of a
geographer,
>
In the 18th or the last chapter is given the division
Sea of time. ‘There is one pequbariuy i
BA the seasons are conventionally given
as Six. But as a resident of Kanya-kubja, Raja-Sekhara
‘Says, they are really five, the Hemanta or late autumn
Bicing merged into the winter. Each season has four
: he - phases: (1) the coming out of one season from the
Previous one, (2) its infancy, (3) its maturity, and (4) its
- IMmersion into the next.
; i;
The whole book is full of information about India
| @ thousand years ago, and it will be more valuable still if
_ the other 17 adhikaranas are found out.
F ‘Tue DHVANI-KARA.
| Three schools of criticism have already been des-
The dhvani school hasa cYribed, viz., the earliest Rasa school
tradition. of Bharata, the Alankara school of
CCxXXXil | PREFACE.
Bhamaha, and the Riti school of Dandin and Vamana.
Then came the Dhvani school. All the schools had
a long tradition of their own before they were written
down in formal treatises. ‘The Dhvani school is no ex-
ception to this rule; the earliest writer of it is the
Dhvani-kara, whose name has been forgotten. He has_
a number of karikas, the very first of which says,
“<Kavyasyatma dhvanir iti budair yah samamnata-
purvah.
Tasyabhavam jagadur apare bhaktam ahus tam
anye.
Kecid vacam sthitam avisaye tattvamicus tadiyam
Tena brumah sahrdaya-pritaye tat svaripam.”
eel).
This verse shows that long before the Dhvani-kara
the dhvani was known. It was also known that dhvani
is the soul of poetry. There were three different sets
of critics who opposed it:
(1) One set denied its existence altogether.
(2) The second set gave it a subordinate position.
(3) The third set considered it to be a mys-
terious function beyond the comprehension
of men.
“Therefore,” says the unknown author, «it is
necessary to reveal its true nature. °° So the tradition
he refers to seems to be an ancient one.
It is to be noted that the subject which connoisseurs
delight in may be either expressed or suggested. The
‘expressed subjects have been variously described by,
critics as consisting of upama and other figures of
speech (I. 3). But the suggested meanings in the works
¥
-_
i=
PS
|
4
,
PREFACE. eCCXXNlil
of great poets have their existence and they are outside
the parts like effuleence in handsome ladies (I. 4).
That suggested meaning is the soul of poetry, just as
In the case of the primordial poet Valmiki, the sorrow
caused by the separation of the couple of birds found
expression in the form of a Sloka (I. 5). The flowing
language of great poets, describing a charming poetic
Subject, reveals their particular genius,—superhuman
and effulgent (I. 6). This genius, this language, and this
charming poetry cannot be enjoyed by the simple knowl-
edge of grammar and lexicography. It is appreciated
only by connoisseurs of poetry (I. 7). That poetry and
the word that has the power of suggesting it should be
carefully cultivated; because they are the great pos-
Session of great poets (I. 8). As those desirous of light
direct their efforts to the flame of ‘the lamp as the
Means by which it can be obtained, so one desirous of
Suggested poetry should direct their efforts to the sug-
gested meaning of words (I. 9). As the meaning of a
Sentence is understood through the meanings of words,
80 the realisation of the desired object, i.c., suggestive
Poetry, is understood through the expressed meaning
(I. 10). As the meaning of words, by helping the
*Xpression of the meaning of sentences by its inner
Power, ceases to have a separate expression after its
function is over (I. 11), so the suggested meaning
flashes suddenly in the mind of connoisseurs-which looks
at the real object, not mindful of the expressed mean-
ing (I, 12). Where word and meaning subordinating
themselves express something else, that is poetry;
learned people call it dhvani (I. 13). Where the sugges-
tion is not the principal, but follow the expressed
Object as in the figure of speech called samasdkti,—that
figure is really an ornament to the expressed object,
CCXXX1V PREFACE.
clear and simple (J. 14). Dhvani is not there where
there is a flash only of the suggestion, or where i
follows the expression; it is not even there where it
does not prevail (I. 15). Where word and the meap-
‘ing after performing their functions stand for Sug ges-
tion, that is the jurisdiction of dhvani, but it should
not be mixed up with other things (I. 16), Bhakti
and dhvani are not one, because their forms are
different. Dhvani cannot be defined as bhaktj oD
account of overlapping (a@faatfx) and falling short (szaytfa)
(I. 17). That charmingness which cannot be expressed
in any other way, but which can be expressed by word
full of suggestive meaning, comes within the range of
dhvani (I. 18). Words like lavanya are never repar ded
as an example of dhvani, though they express some
thing charming beyond their own meaning (I. Toy
When a word forsaking its principal function fop the
expression of some ulterior object, expresses its mean: |
‘ing by a second function, it requires a third function,
too; for, otherwise, its flow of expression would be |
halting (I. 20). ‘The second. function depends upon
the principal function; how can that subordinate fune-
tion be a definition of dhvani, whose one source iS |
suggestion ? (I. 21). But, it may be the definition of |
certain division of dhvani. If others are anxious to |
define dhvani, they support us who try to show that
there is dhvani (I. 22). =
There is a good deal of controversy about the
identity of the Dhvani-kara. He is
often confounded with Ananda-vard-
hana, who wrote a vrtti on the dhvani-karikas. Harliet {
rhetoricians seem all to differentiate between the author
of the karikas and the author of the vrtti. But as
The Dhvani-kara.
PREFACE, COXXXV
time went on, and the historical sense of the Indian
panditas,—specially in eastern India,—got blunted, the
‘one was confounded with the other.
4 The karika-kara seems to have preceded the Vrtti-
4 Afienda-vardhans, the Kara by a long interval. The karika-
witi-kara is different kira said, there were people (1) who
| ee oo opposed dhvani altogether,—(2) peo-
ple who gave it a subordinate position, and (3) people
_ Who thought it beyond the comprehension of ordinary
by Men, But the Vrtti-kara splits up No. 1 into three;
ia (2) Those who considered dhvani to have no
k : existence. To them the body of poetry was
words and meaning, the ornaments were
the figures of speech, and the arrangement .
of words was called guna. Along with the
gunas there were some characteristics like
upanagarika, etc. The ritis were also there.
But there were no such thing as dhvani.
(b) If dhvani is admitted as a source of kavya
beyond those already well known, it would
not be kavya at all and it would not
please those who take a living interest In
poetry.
- (c) Yasmin-nasti na vastu kifcana manah-prah-
ladi salankrti.
vyutpannai racitam ca naiva vacanair vakro-
kti-Stinyam ca yat.
Kavyam tad dhvanina samanvitam iti pritya
prasamsanh jado.
no vidmébhidadhati kim snmatins prstah sva-
ripam dhvaneh.
*
% This says that dhvani is a thing which cannot be
defined, and ridicules the adherents to the theory.
CCXXxXVI1 . PREFACE,
What was one in the Dhvani-kara’s time has!
already become three in the time of the Vrtti-kara ——-
that shows that the two authors were separated in
time.
The karikas seem to have been written by different
authors at different times; the Dhvani-kara Simply
collected them and gave them a shape after addine a, few
of his own for the purpose. Up to the time of the Dhvanj-
kara, in the treatises on alankara, we never find the
mention of the two functions of words, viz., abhidha, and —
laksana. But, from the time of Bhartr-hari there wat
a good deal of controversy among the grammarians and
among the mimamsakas regarding these two functions
Anyhow the two functions, denotation and connotation,
were admitted by many schools of philosophy ; and in
philosophy these two were quite sufficient. The third
function, i.e., suggestion or vyanjana or reverberation Is &
new idea. It certainly came in after Bhartr-hari iy the
7th, and Kumarila and Prabha-kara in the 8th centurv.
The history of the scholar who brought in thig idea, where
it was mooted and at what time,—has yet not been ascer-
tained. The Dhvani-kara at the end of the 8th century
boldly quotes from some previous authority—«< Kavyasy-
atma dhvanih—;” for it was already—<budhaih sama-
mnata-ptirvah”’.
The karikas seem to settle merely the major heads
of dhvani, leaving the arrangement of details to the
commentator. In the first chapter, the Dhvani-kara js
busy with the establishment of dhvani; and in the second,
he separates those, so called kavyas, where there ig no
dhvani. Many of the karikas in this chapter end with
words like these;—‘“‘nasau margo dhvaner matah,”
PREFACE. CCXXXVIL
“nasyasau gocarah dhvaneh”’, ‘sa ca na jneyah stribhir
visayo dhvaneh”’, etc. ‘The last verse of chapter I
gives a fine summary of the theory:
“Sarvesveva prabhedesu sphutatvenivabhasanam |
Yad vyangyasyangibhitasya tat purnam dhvani-
laksanam |
Nothing can be more emphatic.
ANANDA-VARDHANA.
Kalhana’s Raja-tarangini, Chap. V, verse 34, makes
Ananda-vardhana one of the courtiers
of Avanti-varman of Kasmira who
reigned for 30 years in the second
half of the 9th century. Raja-Sekhara in his Kavya-
Mimamsa, written in the Ist quarter of the 10th century,
Mentions Ananda-vardhana by name. This is certainly
quite enough to point out the time of the literary
activity of the Vrtti-kara.
Time and place of
Ananda-vardhana.
Traditional karikais are always written in elliptical
language leaving a good deal of work to be done by the
Vrtti-kara. Ananda-vardhana’s services as a Vrtti-kara
are manifold :—
(1) He explains the karikis supplying all sorts of
ellipses and sometimes giving a running com-
| mentary.
| (2) While the Karika-kara is satisfied with the
| major heads of classification, the Vrtti-kara
gives the details and makes the classification
complete in all its parts.
(3) The Karika-kara never cares for examples
which are furnished by the vrtti-kara. It
is a part of his duty to show that the
examples tally with the given definitions.
>
CCXXxXVIll PREFACE.
(4) The Vrtti-kara collects all relevant traditions |
accruing between the composition of the
karikas and of the vrtti: |
(4) These traditions may be given in the form
of karikas by intervening supporters of
the theory, or
(6) in prose or verse by supporters similarly
situated. |
(5) There are certain karikaés which are incor-
porated in the main body of k&arikas as
IT, 18, 19, 20. They seem to be by the
Dhvani-kara himself. But there are other
karikas, viz., the pari-kara Slokas in p. 34;
they are put in there by Ananda-vayr
od
dhana.
Ananda-vardhana is a powerful writer. His forceful
argument has made the dhvani theory the foremost
theory in the Alankara sastra. It has cast into shade
all other theories and shown them in their proper light.
_ Even, later theories could not make any headway against
dhvani. Six centuries later, Visva-natha Points out eon-
tradictions in the karikas themselves, but he never says
a word against Ananda-vardhana.
Ananda-vardhana’s father is said to be Nona Pandita
and he wrote two works, viz., Visates
vana-lila and Arjuna-carita,— both are
cited in the vrtti of Ananda-vardhana. He wrote a vivrtl
entitled Dharmottama on a work of the Saiva philosophy
the name of which ends with the word < viniscaya.’ He
also wrote a work called Tattvaloka in which he dis-
cussed the laws of kavya and of Sastra.
His ancestry.
PREFACE. CCXXXIX
ABHIDHA-VRTTI-MATRKA BY MUKULA.
Abhidha-vrtti-matrka is neither a work on rhetoric,
nor one on poetics. For Mukula
himself says (L. 2488) that Abhidha-
vitti-matrka pertains to four Sastras, vwz., vyakarana,
mimamsa, tarka, and sahitya, and ‘through these to all
branches of science; though Biihler takes Mukula’s work
as one on rhetoric. (Kasmira Report, p. 66) (see our
Catal. No. 4802).
Pratiharendu-raja, the commentator on Udbhata,
was the pupil of Mukula who was
the son of Kallata. Kallata, accord-
ing to Biihler, was a great Saiva philosopher. Mukula
seems to have come a little later than Ananda-vardhana
when the theory of dhvani had yet not taken root.
Mukula, therefore, takes some trouble in explaining the
fundamental ideas of the relation between words and
their import. 0
The book.
The author and his age.
The older rhetoricians do not treat of the functions
of words and of their meanings.
Abhidha-vrtti-matrk®, But later writers all treat of these
—a reaction against the ; :
Aes hool, functions. They became very Un-
| portant in the lOth and llth cen-
turies when the dhvani theorists pushed their idea with
great force and thereby produced reaction. One of the
fruits of that reaction is Mukula’s work. Mukula in
| this examines the fundamental principles which regulate
words in their meanings. He includes laksana, too, im
if abhidha,; for he says, the functions of abhidha are two-
fold, the direct and the indirect. Both these functions
lead to the understanding of the import of words.
Therefore, there should be a differentiation between the
| two,—though in reality they are one. |
i
cexl PREFACE.
This work has 15 karikaés by the author himself
with their prose explanations. In
these Mukula establishes abhidha
only and thereby opposes Ananda-
vardhana’s dhvani. Mammata, therefore, thought it, just
and necessary to refute Mukula’s idea and so he wrote
a work entitled Sabda-vyapara-vicira in which he es-
tablishes three distinct functions of words, of which the
last is dhvani (our Catal. Nos. 4853 and 4854). He
says that the function of dhvani cannot be served by
abhidha, because Sabda functions only once. It eannot
go hopping, giving one Meaning now and another a little
later; therefore dhvani is a distinct function. Both
Mukula’s and Mammata’s works have been published
by the Nirnaya-sagara Press, Bombay.
Mammata refutes
Mukula.
ABHINAVA-GUPTA.,
The Kasmira Saiva school was founded in the middle
of the 9th century by a great thinker
moe fo aa Abb and reformer named Vasu-gupta. He
was followed by Bhattotpala who
again was followed by Indu-raja and Tauta. These two
were the gurus of Abhinava-gupta who was a volumi-
nous writer of the Kasmira Saiva school. But we are
not concerned with that school which was founded on
the tantras current at that time. We are here concerned
with his works on rhetoric. His first commentary,
Abhinava-bharati, is on Bharata’s Natya-Sastra, and the
other is on the Dhvanyaloka, called the °Locana. THe
himself tells us that he wrote a vrtti on l8vara-pratya-
bhijfia in 1015 A.D. and that his Krama-stotra was written
in991 A.D, “From Abhinava-gupta’s remarks at the end
ot his "Locana commentary on uddyotas i and iii of the
|
|
|
1
I
AM
PREFACE. cexli
Dhvanyaloka, it appears that the study of this famous
work was traditional in his family, and his own com-
mentary was composed as a rejoinder to another, called
the Candrika written by one of his predecessors in the
same gotra; and four times in his *Locana (pp. 123,
174, 185, 215) he discusses or econtroverts the views of
this earlier commentator, who is specifically referred to as
the Candrika-kara at pp. 174 and 185.” (Dr. De in his
Sanskrit Poetics, Vol. I, p. 105.)
It is in controverting the views of Candrika that
the °Locana was written, for says Abhinava at the end
of the Ist uddyota :—
‘Kim locanam vina loko bhati candrikayapi hi |
Tenabhinava-gupto’tra locanonmilanam vyadhat ||
Ananda-vardhana is said to be the founder of
_ the dhvani school. No one grudges
Me in as the credit givén to him for clearing
establishing the dhvani up that theory and making it the
school. highest theory in Sanskrit poetics.
te But the services of Abhinava-gupta
, are invaluable to the theory. The
dhvani theory requires for its complete recognition the
theory of rasa. Abhinava, therefore, took the precaution
of writing a commentary on Bharata’s Natya-sastra, the
central idea of which was rasa. Bharata’s rasa is con-
fined to drama. Its main object was to train the actors
how to express the rasas clearly by four kinds of acting.
The idea of rasa entered very late in the fields of rhetoric
and poetics. ‘Therefore, for the purpose of explaining,
elucidating, and realising the dramatic rasas he wrote
the “Bharati on the Natya-Sastra and then took up the
dhvani theory in which rasa plays a very important
eexlit PREFACE.
part. He, in fact, brought in a harmony between the
profession of actors and the profession of poets. I use
the word profession advisedly; because poetry was al]
along a profession and is still so in the feudatory States
ot India. In the commentary on the Dhvanyaloka the
services of Abhinava-gupta are more in harmonizing
the karikas and the vrtti than in harmonizing poeties
and dramaturgy. In many places he has pointed out
the difference of ideas between the kdArikag and the
vrtti and reconciled them. He has also explained the
celebrated Bharata-sitra on rasa-nispatti in a4 way that
one may apply it both to drama and to poetry. Fis
extensive learning was very useful in giving the history
of controversies in the matter of rhetoric and poetics.
In subsequent literature he is every where Spoken with
deep reverence whether the author agrees with him
or not. He has shown that the dhvanj theory eluci-
dates all other theories of rhetoric, specially the theory
of rasa which he has pointed out as the principal thing
in dhvani. For, what is rasa? It is simply dhvani,
suggesting things not expressed, so rapidly that the
steps by which the suggestion is made are imperceptible.
Ananda-vardhana boldly made an attempt, but Abhinava
made the attempt successful.
VAKRORTI-JIVITA BY KUNTALA.
The revolt against the dominant dhvanj theory sup-
ported by the Dhvani-kara, Ananda-
ssareineaivansioa, Yardhana, Abbinavergnpta, and Mann
mata,—was led by two men; VUZ.,
Mahima-bhatta in his Vyakti-viveka, and Kuntala in his
-Vakrokti-jivita. Of these two, Kuntala is the earlier.
The latest author whom he quotes is Raja-sekhara (Edn.
PREFACE, eexlill
onl
| _ De, p. 71), and the earliest author by whom he is quoted
5 4s Mahima-bhatta.
Raja-sekhara’s date is well known: he flourished in
the first quarter of the 10th century ; :
; and Mahima-bhatta towards the end
of the llth century. Kuntala may be a younger contem-
porary of Abhinava-gupta:; and an elder contemporary
of Mammata.
Age of Kuntala.
Dr. $8. K. De has done a great service by bringing the
work of this powerful though obscure
writer to light so far as the MS. mate-
rials available permitted. About the
author Dr. De says, *‘ He (Kuntala) writes in his vrtti in a
lucid, concise yet vigorous style, and his choice of exam-
ples, testifying to his wide reading in literature, is Judi-
Clous. He refuses in most cases to move along conven-
tional lines and cite conventional illustrations. Whatever
_ value may be attached to his somewhat extreme theory
j _ Vakrokti as the essence of poetry, and of his strange
Classification and nomenclature, there can be no doubt
about the originality and freshness of his outlook, about
his literary acumen and critical insight into the artistic
Yequirements of poetry and about the many stimulating
Suggestions with which his work abounds and which have -
been in many cases developed by later theorists” (De,
Introd. lix). I fully agree with Dr. De.
Dr. §. K. De’s edition of
Vakrokti-jivita.
It is a pleasure to read through his book. Its lucidity
and freshness are apparent even to
one who glances through it. He was
a thinker, and an original and bold thinker. Authorities
Vakrokti.
eexliv PREFACE.
did not much influence him. But he belonged to the old
school of alankara theory. He did not give any prom-
nence in his work to the three functions of words, wiz.,
denotation, connotation, and suggestion. He did not give
any prominence even to rasa. He accepted indeed the ritj
theory but altered it beyond recognition. His definition ~
of Kavya is the same as those of other alankara theorists,
viz., words and their meaning together (Sabdartha) eonsti-
tute Kavya. But they should be in a picce of composition
to which he gives two adjectives: (1) vakra-kavi-vyapara-
galini, and (2) tad-vidahlada-karini. The meaning of these
adjectives is that the composition should be delightful to
the connoisseurs of poetry, and that it should be Striking
owing to the genius of the poet. Here he cliscards tha
~ usual limitations of the old supporters of alankara theory;
and brings in two ideas, strikingness and delight. The
word vakrata he explains by a number of words.
means vaicitra, vicchitti, carutva, camatkara, and SO on.
But he takes the words sabda and artha not in the ordinary
sense, but in a peculiar poetical sense (De, T. 9.),
The central idea of Kuntala is vakrata. THe sac
both words and their meanings constitute the body of
Kavya which are to be decorated by the poet. But the
decoration is vakrokti only, and the meaning of vakrokti
is vaidagdhya-bhangi-bhaniti, ¢.¢., the expression of pecu-
liar charm by the action of the poet.
Some rhetoricians think that svabhavokti or plain
narration is an alankara, what is then to be decorated ?
Without svabhaba there can be no subject of poetry.
The subject then should be without svabhava, 7.e., some-
thing beyond description. If the body is the decoration,
then one rides on the shoulder of himself.
PREFACR., eexlv
The poetic vakrata may be of six kinds :—(1) the
strikingness of arrangement of letters,
(2) the strikingness of the first part
(.¢., prakrti or dhatu) of a word, (3) the strikingness of the
» second part (?.¢., suffixes) of a word, (4) the strikingness of
_ vakya or sentence which is of thousand kinds and in which
- all the alankéaras are included, (5) the strikingness of a
prakarana (7.¢., part of a great work), and (6) the striking-
hess of the whole poem.
Division of Vakrokti,
The vakrata or strikingness is taken by Kuntala as
the underlying principle on which all the figures of speech
are based. It is something like a genus from which all
Species, sub-species, and individuals of alankara proceed.
(“ Vakroktih sakalalamkara-simanyam’”’ Edtn. De, I. 31.)
The idea is taken, I believe, from the VaiSesika idea of
samanya on the top and visesa at the bottom, all inter-
Mediate species coming in the middle.
Kuntala deprecates the use of the word riti and the —
division of ritis according to countvries.
If the ritis are peculiar properties of
“ountries, why should they be divided into three? There
ate innumerable countries and therefore the ritis also should
have been innumerable. He names the ritis as Kavi-
Prasthana-hetavah, v.e., the roads by which the poets go.
They are (1) mellow, (2) variegated, and (3) pertaining the ae
hature of the two. It is patent that the prasthanas are
teally two, the other is merely a mixture. The mellow
division of vakrata has four characteristics: (1) sweetness
(midhurya), (2) lucidity (prasada), (3) effulgence (lavanya),
| and (4) nobility (abhijatya). The variegated and the
mixed divisions also have the same four characteristics,
_ but they are differently defined by the author.
Kuntala’s idea of riti.
|
| a
|
ecxlvi PREFACE.
Besides these four characteristics, there are two
more which pertain to all the prasthanas. They are
aucitya (propriety) and saubhagya (good luck). These
two are conspicuous in all the three prasthanas, and they
are still more conspicuous in words, sentences, and poemst
This is the framework of Kuntala’s treatise, He
Mi has subordinated the dhvani to it,—
Qemoktl iscmentelio Ghvani in all its varieties, vaatue
ae
Vakrokti-jivita Epos dhvani, rasa-dhvani, and alankara-
isolated attempt or a 1 : hea .
ee
gS vakrata
and admits others as having vakrata. In the matter of
rejection he is almost merciless. He rejects many of the
favourite figures ot speech of his predecessors, "Thoweh
his main theory of vakrata has not been accepted iy:
any of his successors, they have generally accepted his
scheme of alankaras. His sympathies were all with the
ancient rhetoricians, whose scheme of discipline diq not
go beyond the range of words, their import, and short
compositions in prose and poetry. But when larger
works began to be written, and there was need of sone
thing higher than the discipline of rhetoric, the
dhvani theory philosophically and practically appeared
to meet the requirements: of the existing literature.
Kuntala appeared at this time and made a generaliza-
tion of all the alahkaras and set the vakrata theory as
“a rival to dhvani. Philosophically it did not gatisty
the requirements, and practically it failed to attract. So
it remained an isolated attempt of a great thinker.
The work is divided into chapters called unmesas.
An abstract of the first unmesa is
given above. The second unmesa
treats of the strikingness of the arrangement of letters.
Contents.
:
i ‘
~
4
——— QL LLL IE. IS
PREFPACR. eexlvii
of prakriti (stem) of pratyaya (suffixes) and the third
unmesa treats of vakyas or sentences. Dr. De could
not finish the edition with the 3rd unmesa for want of
good materials. But he has given the resumee of the
third unmesa. The resumeé of the fourth treats of the
* . - . .
strikingness of prakaranas, and I believe, in the same
unmesa, the strikingness of pravandhas is also treated
of. Pravandhbas may be taken from tradition or history
or may be original. ‘This is the only work in Sanskrit
literature in which criticism of the entire poem is aimed
at,
DASA-RUPA BY DHANANJAYA.
Daga-rupa is a work on dramaturgy written by
Dhanafjaya, son of Visnu, and com-
mented upon by Dhanika who is also
said to be a son Visnu. The author and the commentator
look like brothers. Both of them flourished at the Court
of Dhara. The author lived under Muija, the uncle of
Bhoja, and flourished at the end of the 10th century (from
974-995). Muiija had many viruds, such as Vak-pati-raja,
Utpala-raja, Amogha-varsa, Prthvi-vallabha, Sri-vallabha,
etc. It is well-known from books and inscriptions that
he defeated the Calukya King Tailapa II six times; but
in the 7th encounter in 995 he was defeated, taken a
prisoner, and executed.
Age of Dhanafijaya.
The work DaSa-rupa is based on Bharata’s Natya-
Sistra. But it is strange that Dha-
ao a natijaya does not name any work on
w dramaturgy written during the period
intervening between him and Bharata, though he quotes
a number of dramas and kavyas and some works on
rhetoric. The object of writing the book is to give a brief,
succinct, and clear abridgment of Bharata’s Natya-Sastra.
ecxlivill PREFACE.
Dhanafijaya speaks only of ten rupakas. In the
beginning he makes a distinction between nrtya and
nurtta; the first is emotional and the second is external.
They are both useful to a drama. The subject of nataka_
may be of two kinds:—the main and the occasional.
The main subject runs throughout the work and the
occasional when occasion arises;—as in the Ramayana,
the story of- Rama is the main and that of Su-griva is —
occasional. The subject of drama may be well known,
may be an invention of the poet, or may be
of the. two.
a& mixture —
In a drama the plot has five elements: (1) the a .
(2) the Expansion, (3). the Episode,
The translation of 4. the E isodical : ’
ncident
technical terms are taken ( P nt, and | (
Denouement. The action also has M |
stages: (1) Beginning, (2) Effort, (8) 4
Prospect of success, (4) Certainty of success, anq (5)
Attainment of success. The five elements of the plot
acting in concert with the five stages of the action give |
rise to five junctures which connect one thing wate
another in a single sequence. The five junctures are: _
(1) Opening, (2) Progression, (3) Development, (4) 7
Pause, and (5) Conclusion. Each of thege dramatic — |
properties has many subdivisions and they take nearly
the whole of the first book of the Da8a-ripaka,
from Haas’s. Dasa-rupa.
|
>
ql
The subject-matter in a drama is of two kinds—one __
to be suggested and the other to be seen’ and heard.
That which is dry but at the same time necessary, is to
be suggested and the rest to be acted. The suggestions
are five. They are the Intermediate scenes, viz., the
Explanatory scene (viskambhaka), the Intimation scene
(culika), the Anticipatory scene (ankasya), the Continua-
.
Jud
a
PREFACE. cexlix
tion scene (ankavatara), and the Introductory scene (pra-
vesaka).
On another principle the subject is again divided
into three parts. ‘That principle is natya-dharma (dramatic
tules). The first is to be heard all (prakaSam), the second
not to be heard at all (svagata), and the third is split
up into two—Personal address (janantika) and Confiden-
tial address (apavarita).
id
Book II of DaSa-ripa is taken up with the classi-
fication and characterization of heroes and _ heroines,
_ With the characterisation of heroes come in the styles
of procedure which is based on their conduct. These
_ styles are four in number: (1) Gay style (Kkaisiki), (2)
Grandiose style (sattvati), (3) Horrific style (arabhati),
and (4) Eloquent style (Bharati).
Book III treats of natakas. In the beginning of the
_ chapter, there is a detailed description of Purva-ranga,
le. preliminary to the beginning of the drama. Then
come the ten different classes of natakas. Here the
natakas are only ten as in Bharata.
é
~~ Book IV treats of the rasas and the bhavas with
their accessories and accompaniments. These are also
taken mainly from Bharata.
Mn ¢ :
It is a curious question how the Agni-purana and
Sahitya-darpana got the 27 and 98
Dhanafijaya gives 11 f a tak Th OoOurce f
forms of Nataka as orms of nata ve oe ; SEEO the
against 27 of the Agni- later 18 forms have not yet been
purna and 28 of Sahitya: discovered, Dhanafijaya gives only
darpana. I Y
one form more than the ten, and
eel PREFACE.
that is the natika. By that he indicates other forny.
= ¢ ‘ = = ° S
also which he does not approve :— ‘Samkirnanya-nivy,
taye,” i.e., for discarding other miscellaneous forms.
Bhava-prakasa of Sarada tanaya treats, however, of
thirty forms of dramas and gives their descriptions. ciffep.
entiations, and illustrations as we will see later on. Jy
a very recent publication in the Gaekwad series and jt i
dated in the later half of the twelfth century.
BHOJA-RAJA’S SARASVATI-KANTHABHARAN
SRNGARA PRAKASA.
A AND
Maharaja Bhoja, lord of the city of Dhara, is a oreat
personality in Indian literature, both
| as a writer and as a patron of letters,
He was the 9th King of the Paramara dynasty of Dhar
the son and successor of Sindhu-raja and wag a nephew
of Vakpati-raja. He flourished in the first halt of the
llth century A.D., and has left numerous inseriptions
to certify his date. So it is useless to write dissertations
about his age.
Bhoja—King of Dhara.
His Sarasvati-kanthabharana is a wonderful] produc-
tion. It is full of originality, and
everything dealt with here ig on an
imperial scale. Bhoja is an alankarika,
He thinks that the dosa, guna, and alankara are all that is
required for a good poem; and if rasa is added to it,
the poet becomes famous. With this preface, he goes
straight to the dosas. The dosas concern words. He
gives the definition of each of the dosas with its varieties
and finds illustrations for them from the literature, a
vast number of works of which, was accessible to him.
Having finished the dosas of words, he deals with those of
Sarasvati-kanthabhar-
ana.
PREFACE. ecli
| sentences. After that the gunas are enumerated. Hach
| illustration is carefully compared with the definition and
| notes are given with the view that the definition and
| illustrations agree.
a The second chapter begins with the alankaras. The
| sabdalankaras are sometimes two and
A Sabdalamkaras in Saras-
= sometimes four. but Bhoja makes
them 24.-—-many with numerous varie-
ties, and the author finds apt illustrations for each. His
| first verbal figure is jati. It means the appropriate use of
| languages considering the status of the speakers. They
can use each dialect in its pure form or may use words
common to more than one language; or may Mix up
| sentences of different dialects; or May mix up words
of different languages like sesame and rice; or may
use extraordinary sentences of different languages or may
| use sentences of the corrupt speeches. All these Bhoja
t treats as Sabdalankara which none else has ever done.
|
|
All the 24 verbal figures are rather curious. Their
names will shew how they differ from those enumerated
by other authors. They are: (1) Jati, (2) Gati, (3) Riti,
(4) Vrtti, (5) Chaya, (6) Mudra, (7) Ukti, (8) Yukti, (9)
Bhaniti, (10) Gumphana, (11) Sayya, (12) Pathiti, (13) Ya-
maka, (14) Slesa, (15) Anuprasa, (16) Citra, (17) Vako-
vakya, (18) Prahelika, (19) Gadha, (20) Prasnottara, (21)
Adhyeya, (22) Sravya, (23) Preksa, (24) Abhiniti.
. Se eee i ean
Similarly, there are 24 varieties of arthalankaras and
as many of combined alankaras. (Chaps. TIL and IV.)
—_— _> —_—_—— oo
The fifth chapter is devoted to rasa,—mainly on the
| Srngara-rasa. At the end of the work we have this :—
al
eclii | PREFACE.
‘“‘Catur vargaphalam pravandhe ko va na vandha-~
viyati ity anena Srotrrnam Ramadivad vartitavyam, na tu.
Ravanadivad iti vidhi-nisedha-nivandhanasya pravandha-
sya abhistatamatvam akhyayate.’—pp. 381.
This sentiment is echoed in the opening lines of the
_ Kavya-prakasa, the author of which was either a contem-
porary of, or came shortly after Bhoja.
The whole of the 5th chapter is devoted to Srngara-
rasa. The raja takes care to define
; the 49 bhavas of Bharata, and gives
examples, at the same time pointing out how they help
in the development of rasa. Along with raga he defines
Contents of Chapter V.
and illustrates rasibhasa, the semblance of esthetic —
pleasure, bhavabhasa, the semblance of emotion, bhava-
Santi, the disappearance of emotion, bhavédaya, the rise
of emotion, bhava-sandhi, the blending of emotions, and
bhava-Savalata, the play of many emotions. He goes to
the minutest details as regards the conditions of the mind
in various rasas. In his Sarasvati® and specially in his
Srigara-prakasa, he says that Srngara is the only rasa,
others are tolerated simply because they are supported
by tradition. He compares them with vata-yaksa, People
have a notion that this vata (Indian fig) tree igs resided by
a yakga or goblin but there is no evidence for it, The
yaksa really does not reside there; it is a Wrong notion of
the people. So Bhoja thinks the other rasag to be mere
vata-yaksas, or as non-existing.
Bhoja has, as I have said before, 24 varieties of Sabda-
lankaras, while some rhetoricians restrict them to two,
three, or four. In one of these 24, he has included the ritis.
(cf. the. theory of Vamana and Rudrata, that riti is the soul
PREFACE, eclili
_ of Kavya). He says that it is a mere Sabdalankara. He
| also includes in one of his Sabdalanka-
ras the dramatic functions or vrttis,
; satvati, kausiki, bharati, and arabhati.
_ The use of different dialects by men in different positions
in life, he considers to be one of the Sabdalankaras. The
mode of reading poetry as rapid, slow, and middling, is
also included in the Sabdalankara. At the end of chapter
V, Bhoja treats of the nivandhas, 7.e.. maha-kavyas,
dramas, etc., and takes considerable pains in elucidating
) Riti dealt with in Saras-
vati’.
them,
In his Sanskrit Poetics, Dr. 8. K. De says, ** Sarasvati~
Is a patient compilation in an encyclopeadic manner from
earlier treaties, specially from Dandin, from whom -be
takes, according to the calculation of Jacob, no less than
164 illustrations. From the index of citations given by
Jacob, we find that Vamana is quoted 22 times, Rudrata,
19 times, Dhvanyaloka, more than ten times.”’
The same authority says, ‘* The chief value of Bhoja’s
work consists in its abundant wealth of illustrations and
examples, numbering about 1,500 to every rule and
Prescription.” (Sanskrit Poetics, pp. 148, 149.)
The Srngara-prakaSa of Bhoja is one of the largest
works in Sanskrit rhetoric. Its name
was known long ago, but the work
was lost to the world until recently. His Holiness Sri
Yatiraja Svami of Yadu-giri in Mysore came across a small
fragment of this voluminous work. But the credit of the
discovery of a nearly complete MS. belongs to the peri-
patetic party of the Government Oriental Library, Madras,
in 1919, The Yati-raja has published three out of unittye
six prakasas of this work. These three are :—
His Sr ngara-prakas H.
ecliv PREFACE.
(22) Anuraga-sthapana,
(23) Vipralambha-sambhoga-prakasana,
and (24) Vipralambha.
Yatiraja has given the opening and concluding lines of
all the prakaSas that are extant. from these we find that
the first eight prakasSas are devoted to words,—their de-
notation and connotation. The dosa, guna, and alankaras
occupy the next two prakasas. The Ilth prakdaga speaks
of the presence of rasa (in pravandhas). The 12th prakasa
treats of the four sets cof the 64 angas of a pravandha.
The 13th speaks of rati, the 14th, of harsa, ete. The 15th
prakasa speaks of the support of rati, the 16th, of the
excitement of rati, and the 17th, of the effect of rati.
From the 18th to the 2ist, 4 prakaSas are devoted to
dharma, artha, kama, and moksa Ssrngaras respectively:
The 22nd, 28rd, and 24th prakasas are already described.
Three prakasas, from the 25th to the 27th, are lost in
the lacuna. The 28th prakasa deals with dita-karma,
the 29th, with efforts of union, the 30th, with jealousy,
the 31st, with absence, and the 32nd, with the pitiful
condition. The 33rd prakaSa gives the meaning of sam-
bhoga; the 34th speaks of the first effort of love, the 35th
deals with reconciliation after jealousy, and the 36th treats
of union. In the 22nd prakasa, the author says that there
are 64 phases of anuraga, and at the end of it he says that
there are altogether 12,288 sub-phases of it.
The last two verses of Sarasvati® and of the Srn gara-
prakasa are identical, showing that they are by the game
author. The Srngara-prakaSa seems to be later than the
Sarasvati-kanthabharana because in the former his idea
of one rasa is more developed and decided than in the
other.
— - » .
PREFACE, eelv
—
-
AUCITYA-VICARA-CARCA BY KSEMENDRA.
As Kuntala makes vakrata the life of poetry,
so Ksemendra makes aucitya ‘or pro-
priety the eternal life of poetry. At
the outset Ksemendra states that he
has written another book on Kavya
and alankara, in that he has described the gunas and
the dosas. The name of the book is said to be avi-
karnika. The idea of aucitya he has certainly taken
from Kuntala. who at the end of the first unmesa of
his Vakrokti-jivita, speaks of two general characteristics
| of alankara, viz., aucitya and saubhagya: and now
| comes Ksemendra to give aucitya the place that Kuntala
gave to vakrata. At the end of his Aucitya-vicara-carca
| Ksemendra says that he wrote the work at the time of
a the Kasmira king Ananta-raja, who reigned in the middle
of the 11th century
.
a
Origin of the idea of
aucitya.
Age of Ksemendra.
= a tii
—
It is well known that unlike other Sanskrit authors
Ksemendra gives a good deal of information about him-
self. At the end of his Aucity& he gives the name of his
father as PrakaSendra at whose house sacrificial sessions
were continuous. He consecrated at the temple of Sva-
yambhu a circle of matrs on its wall and gave much wealth
consisting of land, deer-skins, and houses to the Brah-
manas and breathed his last there. His son, Ksemendra
with the title ‘ Vyasa-dasa,’ writes this new work Aucitya-
vicdra-carca. It was written for the benefit of Udaya-
simha, the son of Ratna-simha, who had ascended
i
(
heaven.
Figures of speech and rhetorical excellences are worth-
less if they are not properly used. The propriety is the
life of poetry in everything—in words, In sentences, in
eelvi PREFACE.
poems, in excellences, in figures of speech, in cases, j
genders, in numbers, in adjectives, in
Name ofsomeunknown prefixes, in particles, in tenses, in coun
pos avowed by Beomen- tries, in families, in religious ceremonie.
ra in his Aucitya. ey
in philosophical doctrines, in motive
in nature, in abstract, in genius, in condition, in contro.
versies, in substantives, and in benediction. He Sivey
examples of each of these and also examples of the HNpro.
per use of these. In quoting illustrative verses, he U0teg ;
the names of many poets who are not known. He quotes
Kali-dasa with approval, but, quotes Raja-sekhara with
disapproval. He quotes his Upadhyaya, Gangaka. of the |
unknown poets, the following may be quoted -—(1) Dhar
ma-Kirti, 11. (2) Candraka, 14. (3) Malava-rudra, 15.
(4) Karpatika, 15. (5) Syamala, 16. (6) Pravara-
sena, 16. (7) Prince Mukta-pida, 16. (8) Utpala-
raja, 16. (9) Amaraka, 18. (10) Gauda Kumbha.
kara, 20. (11) Bhatta Prabha-kara, 20. (12) Bhatta
Lattana, 23. (13) Sri-cakra, 25. (14) Malava-Kuvalaya,
26. (15) Bhatta Bhallata, 26. (16) Yaso-varma-deva, |
23. (17) Varaha-mihira, 26. (18) Dipaka, 929. (19)
Bhatta Tauta, 35. (20) Paribrajaka, 34. (21) Gangaka,
39. (22) Kumara-dasa, 24.
Kavi-Kanthabharana by Ksemendra is a work on
Kavi-sikga or training of poets. In
Eco te ining ot HO second verve ho says, for Gilly
M cis. training of disciples and for the ad-
vancement of trained poets, Ksemen-
dra writes this substance of Sarasvati. He mentions_
five stages of this training: (Jl) the acquisition of
poetic powers by one who is a novice, (2) the train-
ing of a poet who has acquired some powers, (3) the |
strikingness of expression acquired by training, (4) the .
i
‘asl
ne
: ‘a
PREFACE, - eelvil
discrimination of defects and excellences of poetry, (5)
. acquaintance with the ways of the world.
(1) One who has not acquired the power of writing
poetry, should endeavour to obtain it
by divine favour and by his own
exertions. ‘lhe divine aid need not be expatiated upon.
As regards the poet’s own exertion, there are three classes
of apprentices: (1) those who learn quickly, (2) those
who learn after long training, and (3) those who never
learn, The choice of the preceptor is a great thing in
this department of study. The controversialists and the
grammarians should be carefully avoided. The disciple
should study with attention poems sweet and charming.
He should give his ear to songs, recitations, poems in
the vernaculars, and he should form his taste for striking
Words, and hear with delight, identifying himself with
every xsthetic enjoyment if he wants to acquire poetic
skill at all. The second class of disciples should read the
Whole works of Kali-disa and should read history. He
should avoid by all means even the odour of contro-
versy. He should take old verses and try to give them a
hew turn; drop words and phrases, and put in new
Ones for them. But the third class of disciples would
_hever be poets. The ass will ever bray and never sing.
The second class of disciples should imitate old poets, take
words from old poets and write verses, take padas or
quarters from them ‘and utilise them in their verse, take
_& short piece as a whole and write a new poem upon
it. -This will give them facility in writing.
Contents.
After acquiring facility, the disciple should observe a
hundred duties regulating his whole life for being a poet. In
this there are regulations of food, regulations for acquir-
.
ee CO LL NT
eclvill PREFACE.
ing uniform health, and so forth. He should not he
dependent on another, should not boast of his Power,
and listen with attention other people’s boasting.
In the third stage, he should acquire Striking neg.
of expressions which is of ten different kinds: (1)
charming without reasoning, 1.€., naturally charming
(2) charming with reasoning, (3) charming in its entire.
ty, (4) charming in its parts, (5) charming in words,
(6) charming in meaning, (7) charming batty in word
and meaning, (8) charming in figures of speech, a
charming in rasa, and (10) ‘charming in well-knol
function.’
In the fourth stage, is the acquisition of writing
faultless words, faultless meaning, and faultless raga
and the avoidance of defective words, defective meaning,
and defective rasa.
In the fifth stage, he should acquire Mastery over
controversy, grammar, Bharata, Canakya, Vatsayana,
the Mahabharata, the Ramayana, theories of liberation,
knowledge of self, knowledge of metals, testing of
jewels, medicine, astronomy, archery, testing of horses,
elephants and of men, in gambling and in sgorcer y, in-
3
painting, in geography, in botany, in ethnology, and in
miscellaneous matter.
Ksemendra ends this book in Buddhist fashion by
| dedicating the merit of writing it to
Fe a asta the benefit of intending poets. He is
said to have written it during the
reign of Ananta-raja, a king of KaSmira, who was an
avatara of Visnu. He mentions one of his disciples
a
=
= Oe
x > -
Se ——
PREFACR. eclix
named Bhatta Udaya-simha who wrote a book called
Lalitabhidhina V. 1. He speaks of some poets un-
known to us. He had another disciple who was a prince
Laksmaniditya by name (V. 1). Among the unknown
poets the following may be mentioned: Vidyananda,
Bhatta Vacaspati, V. 1, Siva-svamin, Indrabhanu, minis-
ter to king Bhima-Sahi, Mukta-kana, and his brother
Cakra-pila, II. 1, Arya-bhatta, TI. 1, Mukti-kalasa, V.
1, Damodara-gupta. V. 1.
VYAKTI-VIVEKA BY MAHWIMA-BHATTA.
In his Vyakti-viveka. Mahima-bhatta criticises the
theory of dhvani and sets up a new
Wyakti-viveka—a con- theory in which anum&na plays a
tradiction against the py enn thoory
dhvani theory. prominent part. le anUMANA t 5
of rasa is attributed by the Dhvani-
kira and Mammata to Sankuka. Perhaps Mahima has
taken the cue from him, but Mahima does not mention
him and claims originality. So Mahima-bhatta and
Kuntala led the way against the dhvani theory. But
they both shared the same fate, that is, complete oblivion.
Mahima-bhatta was a rajanaka and so was a
KaSmirian. His father’s name was
Sri-dhairya and his guru was Sri-
Syamala, quoted in Aucitya-vicara-
carca, Mahima-bhatta quotes from Ananda-vardhana,
—and even from Abhinava-gupta, and is quoted and
criticised by Rucaka. The anonymous commentary on
Vyakti-viveka, printed in the Trivendrum Sanskrit Series
is perhaps by Rucaka. Therefore, he comes between
Abhinava-gupta and Rucaka, and so may be placed
somewhere in the llth century.
Date and place of
Mahima-bhatta.
cclx PREFACR.
Sahitya-darpana in the 14th century quotes fro,
Vyakti-viveka to the effect that there can be no diffe,
“ee of opinion as regards the soul of poetry being Taga
etc, Qo evidently Mahima accepted the dhvani theory
but explained it in a different way.
MamMMATA’S KAVYA-PRAKASA.
ithe amost popular work on the dhvani theory ig,
however, Kavya-prakaSa by Mam, —
ie ; Hemet mata Bhatta written in the 2nd half a
Hees ie BEF) JOMRe OF the lith century,—as Bhoja, the
king of Dhara, has been mentioned —
In it ag a recent person. Mammata, it is asserted iy
the Kasmirian tradition, wrote up to the Parikarg
alankara and the rest was written by Allata, But,
SOme scholars find traces of collaboration of Allata in |
other parts of the work also.
Though Mammata is an out and out Supporter of
the dhvani theory, he haq not the
courage to say, ‘“ Kavyasyatma
-dhvanih.” His definition of kavya is that of the old
rhetoricians. He says, ‘Tad adosau sabdarthay saguna-
vanalamkrti punah kvapi,” 7.e., he stuck to the old
definition of the old rhetoricians like Dandin, Bhamaha,
Vamana, and others. He seems to be bent on har
monizing the definitions of rhetoricians and poeticians,
Anandavardhana is unwilling to call a piece « kavya’
which has no dhvani. But Mammata is willing to in-
clude pieces without dhvani within the meaning of the
word kavya.
Hts definition of Kavys.
It is in Kavya-prakas8a that we find for the first
time the three functions of words : distinctly and _ clear-
PREFACE. eclxi
ly stated in Ullasa ll. From the time of Bhartr-hari in the
early 7th century, the first two func-
tions of words, viz., abhidha and
laksana, were acknowledged by all
writers on philosophy. The two schools of Mimamsa in
the 8th century took different views of the relation between
words in a sentence. One said that the words expressed
their meaning and the relation came in afterwards. The
Other said that the meaning came in, as related. The
rhetoricians seem to favour the former
theory and not the latter. It is from
the idea of this relation that the rhetoricians came to
The three functions
of words clearly stated.
Ullasa II1.
the theory of dhvant, or suggestion or better still, re-
verberation. In the 3rd Ullasa, Mammata speaks of the
Suggestive meaning as coming from the other two mean-
ings, The suggestion comes only to those who are ac-
customed to study kavya.
The 4th Ullasa is prefaced with the remark that the
dosas, gunas, and alamkaras should
come in after the words and their
Meanings have been treated of. But the author postpones
their consideration for giving a full treatment to kavya.
Therefore, in this chapter, he gives the classification of
kavya.
Ullasa IV.
The suggested meaning, he says, May come direct
from the ordinary meaning of words
ee Me ing. or from their secondary meaning. I
it comes from the secondary mean-
ing, the ordinary meaning may be éither neglected or
altogether discarded. But when the ordinary meaning
IS expressed and then comes the suggestion, it may come
either (1) gradually or (2) at once; 7%.¢., (1) when the steps,
ecixil PREFACE,
meaning, are traceable, and (ii) when they are not trace. —
able. The last is the most important feature of the SUg.
gested, or reverberated, meaning. One sees a dramatig
performance, or reads a poem, tears trickle down from
his eyes or he is susceptible to different emotions. Hoy
could these changes take place’? They take Place
certainly by seeing the acting or reading the book: but
they come so imperceptively that you do not even with
effort note the steps. These imperceptible changes in
the mind of the audience or of the reader are rasas,
Here we get the reasons or causes of the wsthetic enjoy-
ment of poems and dramas. ‘This is the most important
explanation of esthetic enjoyments in Sanskrit poetics,
Bharata perceived these esthetic enjoyments, gave theip—
minute classification, and gave minute directions to the
actors as to how to express them and how to develop
them. The old school of rhetoricians, Dandin, Bhamaha, —
and others, did not attach much importance to them
and lett them to dramatists. When first the rasas were
transferred from drama to poetry we cannot say. But
it is certain that this transfer led to the theory of dhvant
to explain the origin of rasa.
by which the ordinary meaning develops into suggestivg |
The celebrated Sttra of Bharata imbedded jn the
' 6th Chapter of Bharata’s Natvya-
ye ae NN 8. Sastra, comes in here in the Kavya-
prakasa for a fuller treatment. The
editor, Mr. Jhalkikar, says that there were four comment:
ators on the Natya-sastra: (1) Bhatta Lollata, a
Mimarmsaka, (2) Sri-Samkuka, a Naiyayika, (3) Bhatta
Nayaka, a follower of Siamkhya, and (4) Abhinava-gupta,
an Alamkarika. The first is called the wutpatti-vada or
abhivyakti-vada or pusti-vada ; the second is called the
7
\
j
.
|
PREFACE. eelxil
anumiti-vada: the third is the bhuhktt-vada and the
fourth, the dhvani-vida. Mammata accepts this last
and eulogises this in the highest terms.
Mammata here explains all the rasas, bhavas
(sthayin, vyabhicarin, and sattvika) and their rise, fall,
mixing wp, etc.
‘Then Mammata proceeds with those suggestions or
teverberations, the steps by which they are developed can
be traced. ‘They are mainly two: (1) where the suggest-
ion is an idea, and (2) where it is an alamkara. You get
no alamkara from the words but from their suggested
Meanings. This chapter is called the dhvani-kavya or the
best Kavya. The varieties of dhvani are here given
as 10,455.
The 5th Ullasa treats of middling Kavyas of 8 kinds,
in which the ordinary or expressed
Ullasa V. ; ; . ;
meaning is more enjoyable than the
Suggested one.
The 6th Ullasa is devoted to poems in which there
Bie er is no suggestion. It is the shortest
Ullasa VI. ‘ — rT Si
chapter in the Kavya-prakasa.
The 7th Ullasa treats of dosas. They are the proper
function of the rhetorician. But Mam-
mata prefaces the chapter by saying
that the rasas are the principal things
in a Kavya and therefore the defects of rasas are the
principal defects. But rasa depends upon the expressed
meaning, therefore defects of the expressed meaning are
Ullasa VII treats of the
various defects.
also defects of rasa. Regardless of classification of the
eclxiv PREFACE.
defects by other authors, he divides these defects as
(1) defects of words, (2) defects of sentences, (some of these
are the same as defects of words), (3) defects of meaning,
and (4) defects of rasas. Mammata takes a good deal
of space in defending certain of the defects of rasas under
different circumstances.
The 8th Ullasa treats of the gunas, and they are,
according to Mammata, only three. az
(1) sweetness, (2) spiritedness, and
(3) perspecuity. All other gunas are either included in
these three or are mere want: fects
ts of defects. One or two
gunas of other authors are regarded as positive defects by
Ullasa VIII.
Mammata.
The 9th Ullasa deals with figures of speech pertaininy
Ullasa I[X—treats of the rs rons ng = ani emis vakrokt
Aa is mentioned first of all,—where the
i meaning of the words intended by
the speaker is taken in a different way by the hearer.
This Vakrokti, Kuntala, a subsequent writer, makes the
soul of poetry. The second is the alliteration with many
varieties. Then come the yamakas and then the double
entendres. Mammata has laid down that if the foure
of speech remains the same after the word with a dounle
meaning is changed by one of its synonyms, it dost ,
not pertain to the Sabda but to the artha. But if the
figure disappears with the change of the word, it pertains
to words. One of the special features of Mammata is
that he regards the ritis, Vaidarbhi, etc., as Sabdalamkara
and considers them as a part of alliteration or anuprase.
So what Vamana thought to be the soul of Kavya, is
regarded by Mammata as a thing subordinate to anuprasa.
He names them as upa-nagarika, parusd, and komala
vrtti in anuprasa. After these come the vandhas, and the
PREFACE. eclxv
last figure is called the punar-ukta-vadabhasa, where
é : ,
the same thing seems to be repeated but 1s not really so.
The 10th or the last Ullasa is on the figures of
speech pertaining to the meanings of
asa X—treats of the .
eee oot OF th words. It treats also of the mixture
Arthalamnkéaras. ae ; ‘ :
. of different figures of speech. It has
one special feature. Previous rhetoricians who did not.
believe in the suggested sense, thought that if the suggested —
sense is less delightful than the expressed sense, they
are alamkaras. So they called these alamkaras by various
names, ¢2g., rasavat, preya, urjasvin, samahita, etc. But
Mammata calls them inferior poems in which the suggestion
1s subordinate to the expression, —(gunibhuta-vyanga) ;
and so they are not mentioned in Ullasa X with alamkaras,
but are treated of in Ullasa V where he treats of second-
tate poetry.
There are many misconceptions about the work,
Kavya-prakasa, all generated from the
unhistoric spirit of the scholars spe-
cially of Eastern India. Some late
Bengali commentators think that the Karikas are by
Bharata and the vrttis only are by Mammata. Another
Bengali commentator says that Mammata, Uvvata, and
Kiayyata were nearly related to one another. All that
we know about him, is, that he mentions Bhoja and
therefore comes after him. The Bengal tradition that
Sti-harsa, the author of Naisadha-carita, was the sister’s
son of Mammata is equally untrustworthy.
Misconceptions about the
Kavya-prakasa,
COMMENTARIES ON KAVYA-PRAKASA
In our Catalogue Nos. 4821 and 4822, there is a
copy of Sri-dhara’s commentary on the Kavya-prakaia,
eclxvi PREFACE.
entitled Kavya-prakasa-viveka. It was copied at Gaja-
ratha-nagara in the kingdom _ of
Sri-dhara’s Comment- ‘'Tjrg-Bhukti or Mithila in Ta. Sam
eet se 291 which comes to nearly 1405
_A.D., under the order of Vidya-pati
Thakura in the reign of Siva-simha, his patron. The
composition of the commentary, therefore, would go in
the 14th century or earlier. The commentary was then
regarded as important, because V idya-pati ordered tao
scribes, Sri-deva-Sarma and Prabha-kara. to copy it
rapidly and two distinct handwritings are traceable
throughout the MS. In this MS. Sri-dhara is described
as Tarkacarya Thakkura. Candi-dasa, the Bengali and
Visva-natha, the Oriya, in their commentaries oy Mam-
mata, cite him as the Minister of Peace and War. Sne
dhara appears to be a Maithila. The MS. is a very
defective one and was acquired in two different instal-
ments and has two different numbers. It wag copied
early in the 15th century and perhaps COMposed in the
13th.
kaSa-viveka.
In this connexion we get the date and lineage of
Candi-dasa, another well-known com-
Candi-dasa and his line- mentator of Kavya-prakaéa. The
age. (Catal. No. 4838.) ;
work named Kavya-prakasa-dipika
was composed at the request of Laksmana Bhatta.
Candi-dasa’s descendant, Nr-Simha Larka-paiicanana.
writing a commentary on the dhatu-patha of Sam-
ksipta-sara, entitled Gana-martanda (See 1.0. Catal.
p. 839), says that Candi-disa was a commentator of
alamkara (alamkara-tika-krteh) Nr-simha is 10th jin
descent from Candi-dasa. The family was Mukharjis
(Mukha-kule jatah) and they belonged to the endo-
gamous group called Vanga-meli. They were very parti-
PREFACE. eelxvii
cular in their marriage in equally respectable families.
They lived at WKetu-griama, four miles to the west of
Uddharana-pura on the Ganges. The Ms. of Gana-
martanda is dated 1iS806 A.D. As the endogamous
group to which Candi-dasa belonged is given, and as we
know from Brahmanie heraldry (IKula-sastra) that such
groups were formed at an assembly in 1482 in which
Candi-disa must have been represented, the period of
his literary activity should go to the middle of the
lith century or earlier. So he is not the younger
brother of the grandfather of Vi8va-natha as Dr. De
says, for Vidsva-natha was an Oriya.
Artha-prakasika or Karikartha-prakasika by Raghu-
deva (4818) appears to be a very
late production, because the author
thinks that the Karikaés are by
Bharata and not by Mammata, and he appears to have
Commented upon the Karikas only. (Bharata nana
sambhata-karikartha-prakasika. )
Raghu-deva’s Artha-
prakasika.
Jayanta Bhatta was perhaps one of the earliest
commentators of the Jtavya-pra-
kaga. It is called. the Kavya-
prakasa-dipika. The author elves
his date as 1294 A.D. He describes himself as Sri-
purohita. Sir R. G. Bhandarkar in P. 17 of his Report
for 1883-84, says, from the MS. before him.—*‘ Jayanta
calls himself the purohita and was the son of Bharad-
vaja who was purohita or family priest to the minister
of Saranga-deva, sovereign of Gujarata. He finished
his work on Sunday on the 3rd of the dark fortnight
of Jyaistha in the Samvat year 1350, in the triumph-
ant reign of Saranga-deva the Maharajadhiraja while
Jayanta Bhatta and
his commentary.
eclxvill PREFACE.
his victorious army was encamped near A&84-palli.
Jayanta bestows extravagant praise on his father: and
tells us that the King of Gujarata threw himself prostrate
at his feet.’’
Jayanta’s commentary, however, underwent a
curious transformation in the hands of Ratna-kantha
. ‘3
a late commentator, who says,—
“ Jayanti-mukhya-tikabhyah saram uddhrtya yatnena |
| Nirmito Ratna-kanthena Tika-sara-samuccayah Ube ;
So the recast of Jayanta’s commentary is called Tika-
sara-samuccaya.
Kavya-prakasa-nidarsana by Rajanaka Ananda (our
Catal. No. 4820.) is also called Siti-
Kavya-prakasa - nidar- kantha-vibodh ana ‘
_ ena : es a because the
athe author himself, a Saiva of Kasmira,
thinks that Kavya-prakaga has an
inner meaning relating to Siti-kantha or Siva His
date is 1665 A.D. Stein says, Jammu Catal p. 27)
«Ananda who composed his commentary in 1665 10
- is still well remembered in the tradition of Kasmirian
‘panditas as a contemporary and friend of Rajanaka
chic c ’
Ratna-kantha’’ who flourished about this time
Kavya-pradipa is by Mahamahopadhyaya Govinda,
Rea a Pandita of Mithila, son of Kegava
Wictinsesk and Sonodevi, younger and_ affec-
tionate brother of Ruci-kara, and
the elder brother of a Sri-harsa, a poet. BRuci-kara
seems to be a step-brother of Govinda, because Govinda
Says that he himself is the first son of his mother. He
is later than Viéva-naitha whose definition of kavya he
.
PREFACE. eelxix
criticises, and is earlier than Prabha-kara who quotes him
in his Rasa-pradipa written in 1583 A.D. (See our
Catal, Nos. 4823-4826.) This commentary has two sub-
commentaries:—one is by Nagoji Bhatta entitled
Udyota (Catal. Nos. 4827—-°28), and another by Vaidya-
natha Tat-sat, son of Rama Bhatta and is entitled
Prabha. (See our Catal. Nos. 4729 and 4730.)
This Vaidya-natha is not the same as Vaidya-natha
Payagunde. The Tat-sats were the gurus of the last
dynasty of Vidya-nagara, while the Payagundes were
one of the six Deccan Brahmin families settled at Benares.
Kavya-prakasa-vistarika by Para mananda Cakravarti
is another commentary on Kavya-
prakasa. The latest authority he
cites is Visva-nitha. the author of
Sahitya-darpana who speaks of Ala-ud-din Khilji as one
with whom peace or war was equally ruinous. Therefore,
Kavya-prakasa-vistarika
by Paramfnanda.
Visva-natha comes after Ala-ud-din, 7.e., in the middle of.
the 14th century. Paramananda comes before Kamala-
kara in the beginning of the 17th century who cites from
his work. But this long period of 250 years may be
reduced by the fact that Paramananda was a Bengali
Naiyayika and the pupil of [sana Nyayacarya who never
admitted the truth of his opponents, and that the study of
Nyaya was introduced in Bengal by two learned scholars,—
Vasu-deva Sarva-bhauma and Raghu-natha Siro-mani,—
both disciples of Paksa-dhara Misra of Mithila in the
beginning of the 16th century.
Kamala-kara was the son of Bhatta Ramesvara
and grandson of Narayana Bhatta
Kiaivya- asa-prakas : :
avya-prakasa-prakasa ho obtained from Akbar the title
by Kamala kara.
of Jagad-guru, and great grandson of
eclxx PREFACE.
RameSvara who migrated from Paithana on the Goda-vari
to Benares, and who was the last of a long line of panditas
in the Maharastra country. Kamalakara flourished a the
early 17th century, and-he was a voluminous writer on
Smrti and Mimamsa. He undertook the writing of a
commentary on Kavya-prakasa because he had somethino
new to say. (See our Catal. No. 4833.) "
This is another commentary on Kavya-prakasa by
Gada-dhara whose commentary oi
siromani’s Lattva-cinta-mani-didhiti
is one of the standard works on Nyaya
in Bengal. Gada-dhara in this commentary is described
as Bhattacarya-cakravarti. He got no academic title
from his guru, because an accident prevented hig comple-
tion of studies, which alone entitled him to such a clistine-
tion. He was, therefore, known by the ordinary titles
of a pandita, viz., Bhattacarya and Cakravart;. He was
the pupil of Hari-rama Tarkalankara and flourished in
the beginning of the 18th century. Hig descendants are
still living at Nava-dvipa. (See our Catal. Nos. 4834—-
4836.) Gada-dhara after writing many works on the
abstruse subject ot Nyaya wrote this commentary on
alamkara to satisfy the curiosity of his contemporaries.
Kavya-prakasa-tika by
Gada-dhare.
Subuddhi Misra calls himself a, MaheSvara, because
perhaps he was a worshipper of
Tattva-pariksa = by WMahesSvara or Siva
Mahesvara Subuddhi ‘3 - He mays that m
Misra: (Catal. No. 4839). COMMenting upon “Prakasa, Dipika,
and others are usclegs. Seeing that
even °“Darpana and others do not function, Subuddhi
to put a stop to all cavilling criticisms, examines the
real truth of all words and their meanings. Hig work
is named Tattva-pariksa, or more fully, Sabdartha-tattva-
PREFACE. eclxxi
pariksa. As he is quoted by Ratna-kantha, he seems to be
earher than the middle of the 17th century.
Mahesvara Nyayalankara was a Bengali and _ his
commentary was a standard work in
ere NySyt- Bengal for more than a century. It
is still studied in the tols of Bengal.
The commentary is called Kavya-prakasidarsa or Kavya-
prakasa-bhavartha-cinta-mani (Catal. No. 4840, 4841).
Mi The author complains of the wrong interpretation of the
| text which he wants to make right and thereby open
| the bolt of the door of Poetry. He expects that it will
| give delight to Brahmanas and will be accepted for its
clearness. Dr. S. K. De says, “As he is cited by Vaidya-
natha, he should be placed before the middle of the
l7th century, and it is probable that he flourished at
the commencement of that century.”’ There were two
Vaidya-nathas, the Payagunde and the Tat-sat; but both
: of them flourished in the 18th century. Payagunde was
| the pupil of NageSa. Tat-sat composed our Catal. No.
5 4844 in Saka 1740, z7.c., ISIS A.D. MaheSvara, therefore.
| is to come in the 18th century. Our next No. 4842 by
| Sti-krsna cites Nyayalankara who was his guru. He
i a * thinks that Mammata is the author
Sri-krsna. . ;
5 of the vrtti; because he says. Mam-
Mata explains the two Mimamsaka opinions but does not
cite the Naiyayika opinion. (Mammata-bhattas tu vrtti-
karta ityaha. Yuktas caitat, anyatha vivecana-prasanga-
karikayam Maha-bhasya-Mimamsaka-mata-dvayam eva
| darsitam na tu Naiyayika-matam. Leaf 3A.)° Though
FZ there is not much foree in this argument, it is cited
1 here to show that modern Bengalis consider Mammata
j, as the author of the vrttis only. The name of Sri-krsna’s
commentary is Rasa-prakasa.
lankfra.
eclxxil PREFACE.
-Vaidya-natha Tat-sat’s commentary is called Kavya-
prakasa-sodaharana-candrika, It was
composed in ‘*‘ viyad-veda-muni-ksma-
mite abde’’, 7.e., in Saka 1740. He was the son of Rama-
pdhatta and grandson of Vittala-bhatta.
— Vaidya-natha.
. Rama-krsna’s Kavi-nandika is another commentary —
on Kavya-prakasa which dispels the
doubts of lovers of poetry, deprives —
the arguments of the opponents of their force and
delights the wise people.
Rama-krsna.
| Sri-vatsa-lafichana calls himself a Bhattacarya, His
father’s name is Visnu Bhattacarya.
His commentary is called Sara-
bodhini. He is cited by Ratna-Kantha in the middle
of the 17th century and he cites from Vidya-natha’s
Pratapa-rudriya (our 4847). Besides this commentary
Sri-vatsa-laichana seems to have written an orioinall
work on rhetoric entitled Kavya-pariksa in 5 chapter
with a commentary of his own (See I.O. Catal, 1188).
In this work he seems to follow Jagan-natha Pandita-raja
who says that Sabda is the only thing to be considered
in the definition of Kavya. ‘The author is perhaps known
also by the name of Jada-bharata.
‘ Sri-vatsa-lafichana.
Kavya-prakasa-darsanam, divided into Udyotas is —
our No. 4448, IT and II. It is written
An anonymous Kasmiri ‘ Kasmiri .
aASmiri.
Wan Lh It IS @ long work, but
the MS. is fragmentary and_ the
author’s name is not found.
Kavyamrta-tarangini is our Catal. No. 4849. It is
a hostile criticism on Mammata’s
Kavya-prakasa. It would have been
a very interesting work, but our MS, is fragmentary.
Kavyamrta-tarangint.
PREFACE. eelxnxili
a
Besides these commentaries mentioned in our Catal-
ogue, the following are to be found in other Catalogues :—
_*
cittanuranjini by Sarasvati-tirtha at
Benares who as a householder was
known as Nara-hari, son of Malli-
natha and Nagamma. His grandfather was Nara-simha,
son of Ramesvara. Narahari’s brother was Narayana who
was born in Sa-vasu-graha-hastena Brahmana samalankrte
Kale. As he lived in the Andhra country where the
Vikrama Samvat is current, the date seems to reter to
Samvat i298=1242 A.D. Nara-hari was proficient in
Tarka, Vedanta, Mimamsa, Samkhya, Sahitya, and Maha-
bhasya. He is said to have written commentaries on
Megha-dita and Kumara-sambhava, and a Smrti work
named Smrti-darpana, and a Nyaya work entitled Tarka-
ratna with its commentary Dipika. As the author was
nearer in time to Mammata, his commentary may be
regarded as historically reliable.
Bala-citt&inurafijini.
(1.0. 1139.)
is a philosophical treatise on Kavya-
prakasa. It was written in the
abstruse and difficult language of
modern Naiyayikas of Bengal. The author was a prolific
writer of modern Nyaya. He wrote a commentary on
Gotama’s sutras entitled Nyaya-siddhanta-mala to estab-
lish the fourfold proofs,—perception, inference, analogy,
and authority,—in Samvat 1750=1694 A.D. He is to be
differentiated from Jaya-rama Tarkalankara, a pupil of
Gada-dhara. - He has a set colophon for all his comment-
aries and the same colophon is given in his °Tilaka. The
colophon in his Vyakhya-sudha is :—
Kavya-prakada-tilaka.
(1.0. 1142.)
In 1.0. 1139 we find a commentary named Bala-
Kavya-prakasa-tilaka by Jayarama Nyaya-pancanana
eclxxiv PREFACE.
Dhira-Ssri-Jaya-Ramena Rameneva mahodadheh !
Nyaya-sindhoh-param param gantum adhva nivadhvate!!
In the °Tilaka, it is :—
Vaddhah Sri-Jaya-ramena Rameneva mahodadheh !
Alankarambudhau setuh sancarantu budhah sukham!!
See pp. 90, 91 of Nava-dvipa-mahima by Kanti-candra
Radhi. Kanti was the daughter’s son of the agent of the
Raja Krsna-nagara at Nava-dvipa in the 19th century.
He says, that from Jaya-rama’s time the Rajas of Kren
nagara took the panditas of Nava-dvipa under their
patronage and granted lands for the Support of their
families and students. The lands have now been resumed
by the British Government which pays a handsome sum
for the subsistence allowance of the Sanskrit students at
Nava-dvipa.
\
Kavya-prakasa-vyakhya was written by YajfieSvara
e “pf $
the sacriicer. At the end, the com-
Kavya-prakata-vyakhy4. 1 ontator says that the author
(Mad. 12821.) could
not finish the work ; somebody else
completed it. But the style of writing is such that none
can distinguish between them.
Kavya-prakasa-lila is another commentary by M, M.
Bhava-deva, son of Krsna-deva, and
“arent pupil of Bhava-deva Thakkura, The
commentator says that though there
are many other commentaries of the Kavya-prakaga, his
commentary has nothing to do with them.
Madhu-mati is by Ravi whose father Ratna-pani also
wrote a commentary on Kavya-
Madhu-mati and Kavya- = ‘ ~
darpana, (LO. laa) Prakasa entitled Kavya-darpana and
whose grandfather Acynta was a
|
|
he a ee eee
et SA SA. ee ee ee ee
"i i
-
*
PREFACE. eelxxv
minister of Raja Niva-simha of Mithila. the patron of Vidya-
pati in the early years of the 15th century. The literary
activity of Mithila was at its height throughout that
century. If Acynta be a minister of Siva-simha. say about
1410, Ratna-pani would come at the middle and Ravi at
the end of that century. Ravi says that his Madhu-mati
18 only a reflection in the Mirror of Poetry of his father
(P. 333 of Peterson’s 3rd Report). Ravi cites Bhaskara.
another commentator of the Kavya-prakasa. He names
the commentary as Madhu-mati after the name of his
daughter, and at the end prays for the reputation of both.
Sampradaya-pradarsini or Vrhat-tika is by Vidya
Cakravartin who says that good men
Sampradéya-pradarsini. _ ee se Tae
(Mad. 12896.) neglected the study of Kav ya-prakasa
and Alankara-sarvasva and so he is
writing this commentary for reviving the study of both the
works,
Rohitya Bhatta Gopaila wrote a commentary on the
, Kavya-prakasa entitled Sihitya-cida-.
ahit -Codae j . . ~~ “tee . * =
wee mani 6oor)=6 Kavya-prakaSa-vimarsini.
Kavya-prakaga-vimarsini
(Mad. 12828.) The work has been described in the
Triennial Catalogue of MSS. in R. 1282,
Vol. II, Part I-A. The writer there says that as the value
of gold is judged by the line it imprints on the test-stone,
So the Kavya is judged here by means of dhvani.
_ALAMKARA-SARVASVA BY RUCAKA.
The story of the discovery of Rucaka’s work by
Bithler in his Kasmira Report in
Rucaka and his disciple ;
Meakhuka or Mankha, 48/8 reads like aromance. There are
Samudra-vandha—acom- two theories about the authorship of
mentator. Jayaratha, a
the work. The KaSmirians say that
second commentator. :
both the sutras and the vrtti are by
eclxxvl PREFACE.
Rucaka himself. But in Southern India, the stitras On]
are attributed to Rucaka and the vritti to his disciply
Mankhuka or Mankha. The sttras are called the
Alamkara-sttra and the commentary, Alamkara-sarvasya,
The Trivendrum edition is accompanied with the com.
mentary of Samudra-vandha. Samudra-vandha was an
ornament of the court of Ravi-varma alias Sam ordima,
dhira, King of Kolamba (Quilon) in Trivancore, who Wag
born in 1265 and conquered the countries as far al
Conjevaram. The Kavya-mala edition is, accompanied
with the commentary of Jaya-ratha, son of Srngara anq
a protegé of Raja-raja, king of KaSmira, who is Sup-
posed to be the Raja-deva mentioned by Yona-raja ag
reigning from 1203 to 1226.
Rucaka’s date is regarded to be in the be
of the 12th century. His pupil
Mankhuka or Mankha, wrote ae an
named Sri-kantha-carita about 1145 A.D. Rueaka he
quoted six verses from his pupil work.
g inning
Rucaka’s date.
Rucaka’s work deals with alamkarag Only. At them
Rucaka and Kuntala. commencement of his work, Rucaka
Rucaka and Mahima discusses the various theories of
bhatta. Kavya and accepts the prevailing
theory of dhvani. As a writer on alamkaras only, he
has made a full statement of Kuntala’s theory of Vale
rokti being the characteristic of all figures of speech.
Kuntala not admitting vyanga or dhvani, thinks that _
‘‘abhidha-prakara-visesah eva alamkarah’’?, He oives |
the idea of Mahima-bhatta in the following words:— |
“Yat tu Vyakti-viveka-karo vacyasya pratiyamanam
prati lingataya vyafijanasyanumanantarbhavam akhyat,
tad vacyasya pratiyamanena saha tadatmya tadutpat-
|
+
PREFACE. eelxxvii
tyabhavad avicaritabhidhanam.” (Triv. Sans. Series,
Now x, P. 11 ff.)
The author, though he accepts the theory of Kavya
as given by the Dhvani-kara. accepts also the theory of
Kuntala in the matter of figures of speech and therefore
Tejects many figures and has not included. like Kuntala,
the vastu-dhvani, rasa-dhvani, and alamkéra-dhyani
among figures of speech.
;
|
|
a
|
JAYA-RATHA.
Alamkarodiharanam (4852) gives the illustrations of
Alamkara siitras for the benefit of
| young learners. Jaya-ratha (in the
| catalogue, the name is written J ayad-ratha) had a
| gtandson who, though very young, was very anxious to
learn rhetoric; therefore he undertook to give the child
|
|
|
|
Alarhkérodaiharanam.
the decided opinions about all alamkaras. The author
Says that his is an exhaustive work on rhetoric. He
had a work, named Alamkara-vimarsini, which was a com-
Mentary on Rucaka’s Alamkara-sarvasva. About him
Bithler says, “This pandita (Jaya-ratha) was a son of
Srigara, and the author of Tantraloka-viveka. In the
Concluding verses of that work we are told that Srngara
had two sons, J aya-ratha and Jayad-ratha, the former
of whom wrote the °Viveka. The MSS. frequently va-
ciate between the two names.” (Kasmira Report, P. 68.)
Biithler says that he certainly wrote at the end of the
I2th century.
HEMA-CANDRA.
Hema-candra’s time, life, and ancestry have been
previously given. He was _ patron-
ized by Siddha-raja Jaya-simha of
the Calikya dynasty of Gujarat, and he converted
Hema candra’s age.
PS SN
ecelxxvill PREFACE.
the next king, Kumara-pala, into the Jaina faith. He
persecuted the Brahmins and destroyed the Vaisnava
doctrine. He was a volumnious writer, not only on
Jainism but also on many branches of Sanskrit literature.
He had a great command of books and his works, there-—
fore, have an encyclopedic character. His work on
alamkara is called -Kavyanu-sSasana which has & Com-
mentary by himself called Alamkara-ciida-mani.
Basing —
his work on Kavya-prakasa he has laid under contribution —
‘a very large number of rhetoricians who h
him. He has little originality, but his compil
valuable owing to numerous citations.
ad preceded
VAGBHATALAMKARA,
Vagbhata is a Jaina author. He Opens his work.
with an invocation to N
abheya-jina
and many of his
Vag-bhata’s age. ul. 2
Z illustrations are
from Jaina works (III. 9). His description of Kavya
is comprehensive. It embraces Sabda, artha (words
and their import), excellences, figures of speech, riti,
and rasa. He flourished (IV. 45) in the reign of Jaya-
simha, 7.¢., Siddha-raja Jaya-simha, (1094-1143 A.D)
whose capital was Anahila-pataka (IV. 132); Vagbhate »
lation is very ,
:
seems to have been a Mahamatya of Jaya-simha; for
Simha-deva-gani, Vagbhata’s commentator, Says so in
his note on IV, 148. Vagbhata like Rudrata treats of
guna (excellences), dosa (defects), and Alamkara (figures
of speech) in the first five chapters and then introduces
rasa as the salt of poetry (V. 1). He does not, therefore,
consider rasa as essential like Bharata, but only as ad-
ding taste and flavour to it. The ritis he treats at the
end of the 5th chapter on rasa, as something supplement-
ary to and as enhancing the enjoyment of, rasa.
PREFACE. celxxix
There is very little of originality in Vagbhata. All
_ important Karikas in his work can be either identified
_ with those in others, or they are slightly variant.
In Vagbhata’s opinion, languages are four, viz., San-
‘skrit, Prakrit, Apabhram§&a, and Bhita-bhasa. The Apa-
bhramsas are many, current in different parts of India.
_ He considers Citra and Vakrokti as verbal figures of
~ speech.
In a Prakrit verse given as an example of the figure
prasnottara, the writer says that
Bahada (Prakrit form of Vag-bhata)
was the son of Soma like the effulgence issuing from the
| pearls, The elements of Kavya are dosa, guna, alamkara
Titi, and rasa. The first chapter treats of the training of
- poets; the second chapter treats of dosa. The third
7 chapter treats of the gunas, and the fourth and the
largest chapter of alamkaras and the fifth treats of rasa,
and the sixth, of ritis which are six in number,—Lati,
Paficali, Gaudi, Bacchomi, Vaidarbhi, and Magadhi. (Our
Catal. Nos. 4791-92).
Vag-bhatalamkara.
i This Jaina work on rhetoric has been annotated by
two commentators. The first is Bhatta Ganesa, son of
, BeAranta and disciple of Bhaskara (I.O. 1155). This com-
Mentator is a Hindu and commences his commentary
_ with an invocation to Rama. I believe as a Hindu he
feels a bit constrained to comment upon a Jaina work;
for he says—‘‘ Vag-bhatalankrti-vyakhyam kartum
kincin niyantritah’’. The other commentary is by Jina-
vardhana, son of Jina-raja of the Khara-tara-gaccha.
He wrote between the years 1404 and 1418 A.D. (1.0. 1156).
This is a short commentary for the benefit of young
learners.
ccelxxx PREFACE.
VaG-BHATA II.
Kavyanusasana or Alamkara-tilaka by Vag-bhata, —
son of Nemi-kumara and Vasundhara
is founded on the same plan and
travels over the same ground as
Kavyalankara by Vag-bhata I. The °“Alamkara is written
in Slokas while the °“Anusasana is written in terse prose
depending on the commentary for the full development
of particulars.
Kavyanusasana or Al-
amkara-tilaka. (I.O. 1157.)
This is the first work in which we hear some of the
minor kinds of dramas, ¢é g., sattaka, dombika, bhana,
prasthana-bhantka, prerana, singaka, rama-krida, hyllasaka
srt-gadita, and rasaka-gostht. ‘Lhe author speaks of Maha-
kavyas; Raghu-vamsa iD Sanskrit divided into sargas,
Setu-vandha in Prakrit divided into a8vasakag ; Abdhi-
mathana in Apabhramsa bhasa divided into sandhis. and
Bhima-kavya in the Gramya bhasa divided into ave
kandhakas.
The author was a native of Rahada-pura famous
- ra 5 = 3
as the shrine of the god Rahada, where there iS an image
: t=)
of Nemi-natha in black stone.
Eggeling seems to take the authors of the Kavyya-
lamkara and Kavyanusasana as one and the game
person.
NATYA-DARPANA BY RAMA-CANDRA AND GuNaA-canpRA.
Natya-darpana is a work on dramaturgy by Rama-
candra and Guna-candra, both dis-
ciples of Hema-candra, the famous
Jaina writer. Rama-candra seems to have been 2a
favourite of Hema-candra, as he de-
pbegsuthors, Kamae signed him as his successor, But
candra and Guna-candra. ps
Ajaya-pala, the successor of Kumara-
Natya-darpana.
PREFACE. eclxxxl
pala made Rama-candra stand on a red-hot sheet of
copper and thus put him to death. Rama-candra is said
to have written a hundred books of which many were
dramas. Eleven of his own dramas are quoted in his
Natya-darpana. Nala-vilasa, one of his dramas, has been
printed in the Gaekwad Oriental Series. Guna-candra
does not seem to have helped him in writing these works ;
he helped him in writing serious work like the Natya-
darpana.
The authors seem to have fully utilised the materials
existing at their time. But they
boldly differed on many points from
them. The number of ripakas ts given
by Bharata, Dhanatijaya, and others as ten,—with natika
as an extra one in DaSa-riipaka, and Hema-candra added
a twelfth as sattaka. But our authors omit saffaka and
put in prakarant there. They declare that the other
forms of dramas besides these are negligible, because they
do not help in the development of rasa.
The characteristic of the
work.
In the matter of rasas early writers like Dandin,
bP Bhamaha, and Vamana do not touch upon them and the
| connected subject of dramas. Bharata says they are
eight in dramas. Abhinava-gupta adds Santa to it.
Mammata omits Santa in the drama but inserts it in the
kavya. He says, as there is no action in the Santa it
cannot be a dramatic rasa. Our authors believe in the
9 rasas and they also believe that Santa can be developed
in a drama.
*
a Se ela at ee eet —
. -_
|
;
Abhinava-gupta, Mammata, and even, Hema-candra
think that rasas produce pleasure only ;—pleasure in a
detached form, as the pleasure of knowing Brahman.
¢
eclxxxll PREFACE.
But Rama-candra and Guna-candra think that thew
produce the feelings of both pleasure and pain. But
why should people go to see a drama which produces a
feeling of pain? Rama-candra answers,—‘* Owing to the
skill of the poet and the actors.”’
‘5
The Natya-darpana is written in the form of karikas.
to which the authors add a conn
mentary which they call SVOpajfia, 7.¢@.,
original. The first chapter describes natalka ; the second
chapter describes the other eleven forms of dramas : the
third chapter deals with rasa, vrtti, bhava, and abhinag
and the fourth, the common characteristics of all the
dramas. q
Arrangement.
Unlike the majority of books on alamkara, our authors.
are not satisfied with one Sloka only
for the elucidation of one technical _
term. They would quote long passages, both in prose Bi: 4
in verse, till the point is explained. They thus avoid the —
necessity of further elucidation by commentaries, :
+
rs
This work is in the process of publication in the ;
Gaekwad Oriental Series, and here we acknowledge our
thanks to the General Editor, Orienta] Institute, Baroda i
for the courtesy of sending advance forms of thea
work. B
Special feature.
BHAVA-PRAKASANA BY SARADA-TANAYA.
Bhava-prakasana is an original work written by Sarada-_
tanaya who is so named because his _
father got him by the favour of Sarada
Bhava-prakaésana.
Devi.
Wis
ET ws % P
<=
af
. a oe
PREFACE. ecIxxxill
In Aryavarta, there is a place called Merittara,
(some say Meerut) in which there is
The author and his . = as :
a village called Mathara-ptiijya in-
pedigree. ; :
habited generally by Brahmins.
There, in the kaSyapa-gotra was a Brahmin named Laks-
mana who pleased Visnu by thirty sacrifices and wrote
a commentary on the Vedas, entitled Veda-bhtsana. His
son was Krsna who worshipped Maha-deva at Benares
* and got a son named Bhatta Gopala proficient in the
eighteen vidvas of the Brahmins. He propitiated the
goddess Saradi and got a son whom he named Sarada-
tanaya, and the boy grew up in his father’s house study-
ing the Vedas and the auxiliary sciences.
Once upon a time, he came to worship the goddess
Sarada in her spring festival. Her image was brought
to the nata-mandira or dancing-hall where the audience
was sitting. With the permission of the audience he sat
by the side of the goddess and saw the performance of
30 different kinds of dramas, and he asked the goddess
to grant him the Natya-veda. The goddess asked the
stage manager to teach him that. He taught him the
methods of Sada-Siva, Vasuki, Vag-devi, Narada. Agastya,
Vyasa, and of the disciples of Bharata. Having learnt
this in the presence of the goddess, Sarada-tanaya made
an abstract of them all, and wrote this treatise Bhava-
prakasana.
The author, Sarada-tanaya was trained by a stage
manager of great reputation and skill.
His theatre was attached to a great
temple, and so the author has a claim to be listened to
on the subject of dramas. The first thing that attracts
notice in his work is the number of major and minor
His training.
ecelxxxXi1v
PREFACE.
dramas, which are, according to the Agni-purana 27
according to the Sahitya-darp
ana, 28, and according to
our author, 30 in number. The comparative list attached
herewith, will show where they agree and where they
differ.
Classification of dramas arranged alphabetically in
pe aC)
NS g
se
10.
]1.
12.
13.
14,
16.
17,
I
AGNI-PURANA
Anka
Thamrga
Ullapyaka
Karna
Kavya
Gosthi
Dima
Trotaka
Durmallika
Nataka
Natika
Natya-rasaka
Prakarana
Prasthana
Prahasana
Prenksana
Bhana
* In the opinion of Su.vandhu, natakas are of 5 kinds:
SAHITYA-DARPANA BHAVA-PRAKASANA We eile
MASANA EXAMPLES IN ory Bu. P.
ik.
ie
=
10.
LE:
13.
14,
16.
bi.
ND oop
II Til
Anka l. Anka
Ihamrga 2. Ihamrga
Ullapya 3. Ullopyaka
Kavya 4. Kalpa-valli
Gosthi 5. Kavya
Dima 6. Gosthi
Trotaka 7. Dima
Durmallika 8. Dombi
Nataka 9. Totaka
Natika 10. Durmallika
Natya-rasaka *ll. Nataka
Prakarana 12, Natika
Prakarani 13, Natya-ra-
saka
Prasthana 14. Parijata
Prahasana 15. Prakarana
Prenksana 16. Prasthana
Bhana 17. Prahasana
Ramianuj 4, Naga
Ganga-Bh a frac
0 g la.
Kusuma ‘Bekhara,.
Devi-Mahadeva,
Udatta-ky njara,
Manikya-vallia.
Sugriva-kelann.
and
Yamal arjuna-vadha.
Tripura-daha, Vrtro-
ddharana, |
Ka@ma-datta,
Menaka-Nahusa,
lekha, Vj
Mada:
kramorvaatya.
Caitravali, Gauri-grha
Vikramovagz, Rama-
bhyudaya, Sakuntal§4,
etc.
Ratnavali, Priya-dargika.
A Natikaé under certain
circumstances becomes
& Sattaka,
Ganga-tarancika
Mrechakatika, Padma-
vati-parinaya, Méalati-
madhava.
Srngara-tilaka.
(1) ptirna, e.g., Krtya-
Ravana, (2) prasanta, ¢.g., Svapna-vasava-datta, (3) bhasvara, €. 5 Bala-Ramayana,
(4) lalita, e.g., Urvasi-vipralambha, (5) samagra, e.g., Maha-nataka,
«
,
7 et a ee
PREFACE. ecIxxxv
T II lil
AGNI-PURANA SAHITYA-DARPANA BHAVA-PRAKASANA EXAMPLES IN THE Br. P.
18. Bhanika IS. Bhanika 1S. Preksaka Bali-vadha, Nr-simha-
vijava, Tripura-mar-
dana.
19. Bhani 19. Riésaka 19, Bh&ina Raémékrida.
20. Riasaka 20. Vilaisika 20. Bhi&ni Vin&-vati.
21. Vithi 91. Vithi 21. Mallika Mani-kulya& ?
22, Vyayoga 22. Vyaiyoga 22. Lasaka
23. Silpaka 23. Silpaka 23. Vitht Vakula-vithi, Indu-lekha,
94, Sri-gadita 4, Sri-gadita 24. Vviiyoga
2, Sattaka 25. Samliipaka 25. Silpaka
26. Samavakaira 26. Sattaka 26. Sri-gadita Ramanarda.
27. Halligaka 27. Samavakiira 27. Sattaka Karptira mabjari.
28. Hallisa 28. Samavakira Niigananda, Amrta-ma-
thana.
29. Salléipa
30. Hallisa Keli-raivata.
The Agni-purana does not give any descriptions or
illustrations of the minor dramas.
Vi8va-natha’s descriptions are rather
stiff and he has given us no illustra-
tions. But the descriptions of the Bhava-prakaSana are full
and informing. Sirada-tanaya gives the sort of dance and
music appropriate to each class,—in which matter Visva-
nitha is silent. He also gives an illustration of each
kind of minor dramas, as if he was familiar with them
and in the preamble of his book he said that all the
thirty different kinds of dramas used to be performed
before the goddess.
The three works com-
pared.
The author appears to be a man of the Pancala
country where 64 is a favourite num-
seography of India "ber, The Paiicalas divided the Rg-
the Bhava-prakaséa. i
veda into 8 Astakas of 8 adhyayas.
They divided the act of Srngara into 64 Pafealiki
Kalas. So our author also divides the countries of the
known world into 64. They are as follow:—
eelxxxvl PREFACE,
(1) Pandya, (2) Kerala, (3) Cola, (4) Sindhu, (5)
Simhala, (6) Pamara, (7) Kalinga, (8) Wa
vana, (9) Mleccha, (10) Parasika, (ll) Saka,
(12) Gauda, (13) Lata, (14) Vidarbha, (15)
Kama-ripa, (16) Andhra, (17) Konkana. (18)
Karnata, (19) Sumbha, (20) K; ambhoja, (21)
Hana, (22) Karusa, (23) Gurjara, (24) Sau-
rastra, (25) Maha-rastra, (26) Hlimmira, (27)
Avanti, (28) Aniipaja, (29) Aniga, (30) Van- 4
ga, (31) Vangala, (32) I, A8i, (33) Kosala f
(34) Maithila, (35) Kirata, (36) Vardhaiae |
(37) Aratta, (38) Kuru, (39) Paiicala, (40) |
Kekaya, (41) Andhra, (42) Magadha, (43) |
Sauvira, (44) DaSarna, (45) Magadha. (46) | |
Nepala, (47) Jaina, (48) Bahlika, (49) Pal-
lava, (50) Kratha-kaisika, (51) Sara-sena. |
(52) Kajana, (53) Karu8a, (54) Yavana (55)
Yadu, (56) Cakra, (57) Kuru, (58) Pargas |
tiya, (59) Emana, (60) KaSmnira, (61) wee |
(62) Kenkana, (63) Nagna, and (64) Mie
kana.
|
|
j
Meerut, though it is not in the Panes]
& country.
yet is so near it that we may take it to be in th f
at coun
|
The age of the author lies between Bhoja whom be |
quotes and Singa Bhtpala who quotes
him, 2.é., between 1050— 1330 A.D. But
a think that he belonged to a time prior to the Muham- —
hy madan conquest for two reasons :— mi
(1) Lhe geography given by him does not show |
any trace of such a conquest and the dis-.
f
His date.
|
]
tribution of languages does not show aN
sign of it.
PREFACE. eelxxxvii
(2) It would be impossible to have a temple like
that of the goddess Saérada- in Aryavarta
after the Muhammadan conquest where all
the 50 varieties of dramas could be per-
formed.
Lhe books on alamkara and dramaturgy that we
Ms on have, were written either in Ixas-
BUT the Bove mira or in the South, and they were
‘kasana. written by learned men. But here is
ou a book written by a professional dra-
Matist of Superior culture in N. India who enters into his
Work -with earnestness and affection. To him the ancient
traditions are not yet lost. Brahma, Vasuki, Vyasa, Hanu-
man are still regarded as originating and improv ing drama-
turgy, Bharata to the author appears also to be an ancient
Writer who had many recensions of his book. He quotes
an ancient recension,—more copious than the one com-
Mented upon by Abhinava-gupta. He quotes Kohala
Whose name appears at the end of Bharata’s Natya-
Sastra as the regenerator of dramatur oy. He quotes from
| Subandhu, —not the author of the Vasava-datta,—but an
— author of dramaturgy. Of the recent authors, he quotes
| from Kali-dasa, Bhava-bhiti, Sri-harsa, Bhatta Narayana,
Raja-sekhara and last of all, from Bhoja. In his time
the Sakyas and Jainas were still in evidence in
| N. India. We know more about the distinction of bhava
and raga, and about the dramatic proprieties from this
work than from any other, because the author was a
professional stage-manager.
: Here also our thanks are due to the General Editor,
Oriental Institute, Baroda, for the courtesy of advance
_ sheets of the work which is in the course of publication
in the Gaekwad Sanskrit Series.
eclxxxvVill PREFACE,
JAYA-DEVA’S CANDRALOKA.
Jaya-deva’s Candraloka goes over the same eround —
as Mammata’s Kavya-prakasa: but
it is written in easy language and is
very useful to young students. The author, called also
Piytisa-varsa, raining nectar from his Moonshine, js to
be differentiated from the lyric poet Jaya-deva, author
of Gita-govinda, whoee father was Bhoja and whose
mother was Bama; while the father of the rhetoricjan
was Maha-deva and mother, Sumitra. The rhetoricinn
seems to be the same person as the dramatist of
Prasanna-raghava, whose father and mother bore the
Jaya-deva’s parentage.
same names.
He is sometimes confounded with Jaya-deva, the
Maithil commentator fe ‘
maiesoli ey &-CeNe cintamani in Nyaya. tie comattll
ary is also called Aloka, and that makes the confusion worse
confounded. But the Naiyayika author of Aloka flourished
at the end of the 15th and in the beginning of the 16th
century; as his own disciple Vasu-deva Sarva-bhaums
was still living at Puri when Caitanya died in 1533 -—
while the dramatist’s work Prasanna-rachava is Peis
by Singa Bhapala in 1330 A.D. The date of Jaya-deva
is therefore earlier than 1330 A.D., but later than that of
Rucaka, many of whose original definitions of alamkara
he has appropriated. Rucaka’s date has Bees
tentatively fixed at the second half of the 12th century.
Jaya-deva must, therefore, be coming between 1150
and 1830 A.D.
Jaya-deva claims no originality. He is credited
with lucidity, clearness, and a complete survey
PREFACE. cecIxxxix
of the work of a rhetorician. His book is called
Candraloka, Light of the Moon. His
SopeceueUsvics of — commentator, Pradyotana Bhatta.
— thought that the moonlight is never
so bright as with the advent of au-
tumn, and so he named his commentary ‘Saradaigama’.
The bright light of the moon in the clear sky of
autumn delights the water-lihes at
night. So Appaya Diksita wrote a
work, drawn principally from the
Candraloka, called IXuvalayananda. It treats only of
the figures of speech based upon the meaning of words.
In this chapter Jaya-deva had 100 figures of speech.
Appaya in his Kuvalayananda added 34 more,—making
a total of 134, the largest number of arthalankaras
met in any Sanskrit work on rhetoric.
Appaya’s Kuvalaya-
nanda.
Pradyotana Bhatta wrote his Saradagama in the
year 1583. He wrote under the
patronage of Vira-bhadra, or Vira-
simha, who at the instigation of Prince Selim murdered
Abul Fazal in 1595. Vira-bhadra was well known not
only as a literary man, for he wrote a commentary on
Vatsayana’s Kama-stitra in 1577, but his name has been
made ever-memorable by his Court Pundit Mitra Misra’s
encyclopedic work, the Viramitrodaya, in which both
the names of the patron and the author have been
immortalised.
Date of Saradaigama.
There is another commentary on Candraloka by
_. Visvesvara Bhatta, nicknamed Gaga-
/ a Gas" bhatta, a man of ripe and extensive
co scholarship, who made Sivaji a ksa-
CCXC PREFACE. ie
triya and directed his coronation in’ 1674. The com-
mentary is called Rakagama, the Advent of the Fy
Moon.
A third commentary is by Vaidya-naitha Payagunde, |
a Maratha Brahmin of Benatems
and a disciple of Nagoji Bhatta._
lute his preceptor, Nagoji, Vaidya-
natha wrote commentaries on a varieties of Sastras, but
generally on the 2nd or 3rd remove. He is to ba dis-
tinguished from Vaidyanatha ‘Tat-sat. The Tat-sat |
family hailed from Vidya-nagara after the fall of that
empire. The Payagundes are one of the SIx Maratha
Brahmin families who settled at Benares 5
es DOO years ago.
Vaidya-natha’s com-
mentary.
EKAVALI OF VIDYA-DHARA.
The Muhammadan invasion of Northern India at ;
the end of ‘the (2th and a i
meets momma ee O the 13th century gam
Soi Or GIDC away Sanskrit culture from Aryavantn
the home of Sanskrit learning en
two centuries, the 13th and the 14th, the history of Liten
ture (Sanskrit or Bengali) was a blank in Bengal. I> have
not seen many Sanskrit and Bengali Mas even ‘copied —
during these two centuries. But, it flourished for a
century more in the Deccan, and for many centuries in
Southern India. The Yadavas of Deva-giri anq the
Kakateyas of Odangala kept up the flame of Sanskrit
learning burning in the Deccan. The Yadavag patronised
grammar, smrti, vaidyaka, and jyotisa, while the Kaka-
teyas patronised dramas and poetry. The gecluded
position of Orissa, guarded by the sea on one side and
an impenetrable jungle on the other, and Open to
invasion only through Bengal in the north,—kept
PREFACE. ecexcl
up the study of several branches of Sanskrit literature
and Hindu culture generally till the end of the 16th
7 century. One of the carliest fruits of their literary activity
is the Ekavali by Vidyadhara.
The work Kkavali which has been edited with great
care by Prof. K. P. Trivedi, generally
Mee) of Kavya. follows in the wake of Mammata’s
" prakéda, Kavya-prakasa. That has 10 Ullasas
c and this 10 Unmesas. But it 1s
Written in a simpler language and Prof. Trivedi thinks
that “it may be read with advantage by the students
who wish to master the harder work of Mammata”’.
Like Kavya-prakasa, it has its karikas, vrttis, and
udaiharanas. The udaharanas are, hawever, all composed
_ by the author himself in praise of Nara-simha, king of
Utkala or Kalinga.
Eka vali—written in
Vidya-dhara wrote another work, called Keli-rahasya,
a copy of which is in the library ot
the Asiatic Society of Bengal. It is
a work on love, and an abridgment
of a larger work called Rati-rahasya. ,
Vidya-dhara’s IXeli-
rahasy a.
Ekavali takes a good deal of space in dealing with
the utility of mangalacarana. Then, it deals with the
advantages derived from writing poetry. In this por-
tion, Vidya-dhara follows in the wake of Kavya-prakasa.
Then it paraphrases and explains the opening verses ot
the Dhvani-kara, and ends the first unmesa like that
master-work with the following words :—‘‘ Tasmat asti
dhvanih, Ayam ca vastvalamkara-rasadi-ripataya bha-
van na traividhyamativartate. Vastu-dhvanir alamkara-
dhvanih rasadidhvanis ceti.”’
CCXCil PREFACE.
In the second Unmesa, Vidya-dhara deals with th
three functions of words and their meanings. The thing
Unmesa deals with dhvani. In these two Unmesas h
oo ioe e ; @
paraphrases and explains Kavya-prakaa.
The fourth Unmesa is taken up with the subordinate
position of dhvani. The author does not seem to &CCept )
ordinary verses without dhvani as kavya. In the fifth
Unmesa, he treats of the gunas and ritis. According to
his ideas, there are only three gunas and three itis
and he thinks that the other eunas and ritis are includeq
in these.
In the sixth Unmesa, he treats of the dosas and th
e . - ‘ i e
remaining two Unmesas are devoted to the Cnumeration
of different figures ef speech.
The whole work is a clear exposition of the dhvani
theory. It says :— |
Dhvani-pradhanam kavyam tu kanta-sammitam iritam |
Sabdarthau gunatam nitva vyaijana-pravanam yatah 1.6.
Esa Vidya-dharas tesu kanta-sammita-laksanam
Karomi Nara-simhasya catu-slokan udaharan | Lie
Though it does not take any note of dramas and
dramaturgy and does not much concern itself with the
classification of pravandhas in Maha-kavyas, ete., it com
over the whole field of rhetoric and poetics ; and aie
value of the work has been greatly enhanced by Prof.
Trivedi’s notes, especially by his appendices,
The work had the advantage of being commented
on by the well-known commentator
Malli-natha’s Com- Malli-natha h =
ee. a » Who 1s generally placed
at the end of the 14th century. I
need not expatiate here on his various commentaries,
om
OS SS Ol eer —_—_ =
- > ox
F
[4
7
a
PREFACE. eexelll
as they have been given in Prof. Tri-vedi’s introduction
to Ekavali, P. xxiv. Malli-natha not only commented
on poetry and works on rhetoric, but also on Tantra-
vartika of Kumarila in mimamsa:; wrote the PraSasta-
pada-bhasya-tika on vaiSesika and the Tarkika-raksa-
tika. He also wrote a work entitled Raghu-vira-carita,
fragments of which have been discovered, but not the
whole.
One of the reasons why I have placed Ekavali
earlier than Pratapa-rudriya is that Malli-natha com-
mented on the Ekavali, while his son, on the Pratapa-
rudriya.
Ekavali by Vidya-dhara has been placed at the end
of the 13th and in the beginning
of the 14th century by Prof. K. P.
Trivedi and Sir R. G. Bhandarkar, and following them
also, by Dr. S. K. De. But they have assumed that the
references to Hamvira in pp. 176, 177 and Hamvira-
mada-mardana in pp. 257 and 260 of the B.S.S. Edtn.
are to Vira Hamvira, the Cauhan Prince of Rintambore,
Who is a hero of the Dingala poetry in Rajputana; but
Whose impregnable fort was taken away from him by
Ala-ud-din Khilji about the year 1303 A.D. I do not
think that they are justified in making this assumption.
Orissa on the sea-coast and Rintambore in the heart
of Rajputana can have no intercourse,—hostile or
otherwise,—in those remote ages of difficult communi-
cation. It is said that Hamvira’s biographer, Naya-
candra Stiri, speaks of him as having attempted the
conquest of the southern countries. That may mean,
from Rintambore, the conquest of Hada-vati and other
small States in Malava and Gujarat, but, can in no way
mean Kalinga or Orissa.
Date of Vidya-dhara.
PREFACE.
CCXC1V
The word Hamvira is the Sanskritised form of Amir,
1.e., any Muhammadan chief. There
Explanation of the i, g work entitled Hamvira-mada.
oes mardana, published in the Gael
Oriental Series, No. X, where Hamvira means Sahab-ud- 7
Ghori who was defeated by Vira Dhavala of Dholka in
1176 A.D. The word Hamvira in the inscriptions of the
11th century in Central India meant Mahmud of Ghazni,
So the reference to Hamvira in Ekavali means then
Muhammadan Chiefs of Bengal with whom the kings .
of Orissa often came in hostile contact :~—notably
Nara-simha-deva LI, about whom it is said in the inscrip-
tion of Nara-simha-deva IV, published in J.A.S.B.,
1895, p. 229 in verse 84. :— :
Radha-Varendra-yavani-nayanafjanasru-
Purena dura-vinivesita-kalima-srih |
Tad vipralambh a-karanadbhuta-nistaran oa
Gangapi nunam amuna Yamunadhunabhit |
It means that the Muhammadan ladies of Northern
and Western Bengal shed so much tears, black with ae
collyrium paint of their eyes, that the Ganges becaltel
black and waveless like the Jumna.
Nara-simha-deva I was a great king He erected
the temple of Konarak (verse 86). He sat in a Soon
made of spotless ivory. There are many indications in
the Ekavali which show that the king panegyrised in it —
had much to do with the Muhammadans of Bengal. a
Vanga is mentioned in p. 203, Yavanavani-ballabha, 4
in p. 202, and Sakadhisvara, in p. 226.
The duration of the reign of Nara-simha-deva I is
33 years, 2.€., from 1227 to 1260 A.D.
So, Vidya-dhara flourished in the
Nara-simha—his patron.
PREFACE. CCXCV
Second quarter of the 13th century or thereabout. In
Page 65, Vidya. dhara says that kavya, alankara, mi-
Mamsa, vydkarana, tarka, and iigama entered the court
“of King Nara-simha; i.e., he patronised the professors of
- these Sastras, kavya tes alankara taking the lead.
In the Rasirnava-sudhikara written by Siiga-bhipati
ivitoass in the vear 1330 A.D., we have on
Nava-sudhakara. p. 206 “Bho mleccha-rasa-vadin,
utkaladhipateh Srngara-rasabhima-
tino Nara-simha- devasya cittam anuvartamanena Vdya-
q a kavini bidham abhyantarikrto’si. Evam khalu
_ *Samarthitam Hhavalyim anena ..... etc.,’? which means
~—O0h you, who declare that the mlecchas are suscep-
ible to rasas, Navra-simha- deva, the king of Utkala, was
4 _ fond of Srngara-rasa and Vidya-dhara the poet, follow-
Ing the bent of his master has brought you to his
Side. Because he has supported this idea in his Eka-
vali,
RASARNAVA-SUDHAKARA BY WINGA BHUPALA
_ Rasarnava-sudhakara by Singa Bhupala is a work on
dramaturgy in three vilasas, viz.,
(1) The Delight of Actors,
(2) The Delight of Connoisseurs,
(3) The Delight of Action,
e
-
In the first, the author treats of the acting as well as
of the vi-bhavas, 2.e., the dramatical
causes which lead to esthetic enjoy-
ments. So, the author first comes to two classes of such
causes, (i) that which supports (alamvana) and (ii) that
which excites (uddipana). The next step is the classification
of the heroes and heroines.
Contents of Chap. I.
eCe@xevl PREFACE.
Then come the exciting causes. They are of four Kindy
. ?
—excellence, action, ornaments, ang
Classification and sub- gecessories. Excellence consists of
division of the exciting 2 ‘
ith, handsome feature
causes (uddipana vibha- lec wane, Abe re, effulgeng,g
a8)! beauty, charms, softness, and so On
In this way there are subdivisions onl
actions and ornaments. ‘The accessories are the moonshine |
. . ‘y
shower-bath, the moon-rise, the cooing of the cuckog
° b)
flowering-trees, breeze, bowers, underground rooms, tanks
~ . “vE Pale; ?
the sound of clouds, palaces, songs, sports, rivers, ang
others. | It would be tedious to enter into all the Minute
distinctions of the various subdivisions of anu-bhabas
But it 1s interesting to note that among the ACCESSOTLiIeg
are included the ritis, vrttis, and pravrttis. The ritis are
of three kinds,—soft, hard, and mixed. The author rejects
the other ritis,—many of which have been treated of by
* Cit_s = : 1 . °
Bhoja. Singa Bhupati says, they are like nuts (gadu)
and should be rejected.
)
The dramatic vrttis according to him are four and not
Origin of the dramatic a, — es ie Mn origin from
Pie e fight of Visnu with Madhu and
5 Kaitabha in the Primordial] water,
Singa does not admit of the mixed vrttis: fop mixture,
according to him, is impossible.
The pra-vrttis relate to three things ;—lan guage, action,
The pra-vrttis. mine oteee. end a re different in
different countries. Bharata has
elaborate sections on all these but Siiga Bhipala finishes
them in four verses. In the classification of languages he
strictly follows Bharata. But says Singa that he does not
define these languages, because such definitions are foreign
to a dramaturgical work.
PREFACE. cexevil
After finishing the anu-bhavas, the royal author deals
with the siaittvika bhavas or those
emotions of mind which involuntarily
produces external expressions. He says, they are to all
practical purposes, anu-bhavas. But they help to produce
sattva (pure feeling) therefore they are called sattvika.
_ They have a dual character—both a sattvika and an
| anu-bhava.
The sattvika bhavas.
The 2nd vilasa deals with transitory emotions (vyabhi-
cari-bhavas); they are 33 in number.
Many scholars, such as the author of
the Bhava-prakaSana, say, there are
Other bhavas also, but Singa says that they should be
included in those 33.
Contents of Chap. I 1—the
Transitory Emotions.
Then come the parmanent emotions (sthayi-bhavas)
and rasas. The royal author does not
believe in samSlisti samkara where the
rasas have equal prominence; for he
| Says, there cannot be equal prominence; one must be
_ subordinate to the other;—and in that case there will be
+ anangangi-bhava samkara.
And the permanent Emo-
tions.
The 3rd vilasa treats of the ten kinds of dramas. ‘he
4] nataka is taken as the model and the
_nesrd Chap. deals exclt= others are modifications of it. The
sively with the Natalas
and their modifications. drama is elaborately treated. The
| Prologues and Epilogues are expa-
tiated on. The acts are minutely described and defined.
| The links of the story of the plot and of the drama are
) explained in their fulness. The dramatic proprieties are
then given in detail.
|
|
eexeviil PREFACE.
>
‘
One feature of Singa Bhtpala’s treatment of these
things is remarkable. He is not satis-
fied like other rhetoricians by extract-
ing only one verse or one passage as
an example. He quotes a whole section and shows by
analysis, how they are appropriate and to the purpose.
He often names books as examples. He seems to have —
been endowed with the faculty of higher criticism of drama
like our friend Kuntala and perhaps also like the author of —
Bhava-prakasana. He generally follows Bhay; ‘ata in all
things, but modifies Bharata’s details a good deal. Bharata —
does not speak of ritis, the royal author takes the idea of
them from Dandin and like him describes the sunas along
with ritis or margas.
Peculiar feature of Singa
Bhupéla’s criticism.
MM. Gana-pati Sastri in his preface to the Rasarnava-_
sudhakara says. “‘‘he work presents in a clear and
detailed form in three chapters the canons of dramaturgy
which are briefly treated in the Dasa-riipaka in foun
chapters, and among the extant treatises on dramaturgy, ;
I think, there is no work so comprehensive and at the «fai
time so simple as this.”’ a
Singa Bhupala does not seem to be the author of the
work. Some Pandita seems to have —
written the work for the glorification _
of the king. The Rasarnava-sudhakara is a work on the |
same line as the Ekavali and the Pratapa-ridriya, —written
for culogising the patrons of the authors. But at thie
particular instance, Singa Bhtpala seems to have given
some directions to the author. In the work a good deal of
information is given about the king and his ancestors.
There was a family named Recall
which was Sadra born from the feet of
Visnu and so uterine brother of Gana
Characteristic of the work.
The Recalla family and
Singa’s ancestors.
‘he
PREFACR. eexelx
Tn this family was born one Dacaya Nayaka whose wite
was Vocamaimba born of the Lotus family. Dacaya
| Nayaka won a victory over the Pandyas. He had three
Sons:—(l) Singa Prabhu (2) Vennama Nayaka, and
(3) Reca Mahi-pati. The 3rd Reca Mahi-pati had a son |
named Nagaya Nayaka who by his prowess acquired the
epithets of Kathari Rava and Rahutta Raya. For further
- particulars of the ancestry of Sinea Bhipala see Sesa-giri
- Sastri’s Report Ea tlo. 22:
Fr, The first Singa Prabhu established a number of.
_ Brahmanas at IleSvara, near KrsnaleSvara. He had two
sons,—Ananta and Madhava. The second was the pro-
i genitor of the chiefs of Veda-giri. ‘The first, Ananta, also
~ called Annapota, constructed a staircase for climbing up
Brine Sri-parvata by conciliating the brahmanas with profuse
largesses. His queen was Annamamba by whom he had
_ two sons,—one, the lord of Deva-giri and the other, Singa
Bhipala. Singa had six sons of whom only three are
" mentioned :—-(1) Yannapota, (2) Ballabha Raya, and (3)
Dacaya Bibhu. The hereditary capital of the family was
at Rajacala. Siiga was the lord of all the lands lying
between the Vindhyas and the Sri-parvata.
=
4 In the last but one verse in the 2nd vilasa, Singa
_ Bhipala is described as the conqueror of the Gangeyas, 2.e.,
Gangas of Orissa.
Professor Sesa-giri Sastri in his Report on the search of
Sanskrit and Tamil Manuscripts in
189697, gives Singa Bhupala the
name of Singama Nayaka and fixes his date in 1330 A.D,,
on the authority of a biographical sketch of the rajag i
+ Venkata-giri. He came, therefore, about 30 years later
than Pratapa-rudra of Odangala. He was perhaps a tyj-
Date of Singa Bhipala.
4 o.*
CCC PREFACE,
butary of the Kakateyas of Andhra, but escaped molesta-
tion from the generals of Ala-ud-din on account of the in-
accessibility of his territory.
Nataka-paribhasa, or an explanation of the technical —
; a. terms of dramaturgy, written by Singa
Sha reo, (-°- Mahi-pati,—perhaps the same as Singa
Bhupala to whom the Rasarnava-
sudhakara is attributed,—is a short work wholly in sloka i
metre. The royal author hopes that this will be helpful in.
writing dramas. He has used the works of previous —
authors in composing this work. The author speaks of two
languages, viz., Sanskrit and Prakrit, and is of opinion
that the fourteen Vibhagas are useless in a drama because
they want refinement.
PRATAPA-RUDRIYA BY VIDYANATHA.
This is a work on poetics by Vidya-natha, patron-
Bee ai, stab ised by the 7th King of the Kaka-
written in the wake of teya dynasty named Pratapa-rudra.
Kavya-prakasa. Jt goes over the same sround as
Mammata’s Kavya-prakasa, but, often makes incursions
on grounds not traversed in that great work. For ine
stance, in the Ist prakarana, Vidya-natha Speaks of the
classification of the heroes and heroines. In the 2nd
prakarana, he deals with the divisions of poems: in the
3rd, of drama and dramaturgy. Like Ekavali it sings the
praise of Pratapa-rudra in all the examples throughout
the work; and it does more. In the 3rd prakarana it
gives a model drama, describing his conquests and his
coronation. Many of the Sabdalankaras of Bhoja have
been treated of in the 2nd prakarana of this work, among
the gunas, and some among the characteristics of Kavya,
such as, riti, vrtti, Sayya, and paka. The special feature
of the work is that all the examples are the original ;
PREFACE. ecel
composition of the author and they are all in praise of
the patron, Pratapa-rudra. From this fact, the work is
generally called Pratapa-rudra-ya8o-bhisana or simply
Pratapa-rudriya, though in Prakarana I, 3, the author
seems to have named his work ,Kavyalankara-samgraha.
In the 3rd or Nataka prakarana, there is a model drama
written by the author himself on the coronation of Pra-
tapa-rudra entitled—Pratapa-rudra-kalyana, and divided
into five acts:—I. Kalyana-svapna, Il. Vijaya-yatra-
vilasa, JIL. Vira-rudra-vijaya, IV. Tvarita-mahotsava,
V. Pratapa-rudra-rajvabhiseka.
The dramatist sets this forth as a model drama and
analyses its different parts and explains various tech-
nical dramatic terms. In this chapter he follows the
Daga-riipa of Dhanafijaya and rarely ever speaks of
Bharata. By the analysis, he has done a great service
to scholars,—showing the different constituent parts of
a drama as the acting proceeds. We know nothing
about the author except the fact that he has composed
this work on poetics.
His age is determined by the inscriptions of his
patron Pratapa-rudra, the 7th King
of Odangala or Eka-sila-saila. ‘These
inscriptions range from 1298 to 1317 A.D., but his reign
must have lasted several years both ways. Prof. Trivedi
His age.
in a foot-note to page xxii of his introduction, says on
the authority of MM. Gana-pati Sastri that Pratapa-
tudra started an era, the initial year of which is 1277
A.D., and in every almanac in southern India the
era is still noted. Pratapa himself was a literary man,
and a patron of letters. He was not only a warrior but
a conqueror also. His inscriptions are found at Canje-
varam, Trichinopoly, and Bezwada. Though the model
‘,
t
ers Po
i
-svamin. ator Malli-natha. Kumara quotes :
CCCll PREFACE.
drama gives him credit for conquermg even Kasming
Nepala, Khandesa, Kamboja, and 80 ©0,—nearly th,
whole of India,—most of these are purely conventionay
Bengal was then a powerful kingdom under the eldey
son of Gias-ud-din Balban. Ala-ud-din \Shilji was the
master of the whole of Hindustan and sending armies Foy
the conquest of the Deccan and southern India, Jn Spite
of his bravery and skill in war, Pratapa-rudre atte,
resisting several attempts of the Muhammadans on his.
Kingdom had to succumb and to be carried ag a pri
soner to Delhi,—though his kingdom lasted foy anothey
250 years. ;
\
Prof. K. P. Trivedi’s edition of the work with.
Kumara-svamin’s complete commentary and another in
complete commentary and with several appendices is 9
very creditable performance. Prof. ‘T'rivedi has done
another very great service to scholars and the Alankar
literature of India generally by publishing
these appendices the work of Bhamaha.
*
in one of
Trivedi differs from Nara-simha Achariar in thiniene
that Bhamaha preceded Dandi
But Vidya-natha seems to think other
wise. [for, though in his I, 25h
salutes Bhamaha, in a seemingly chronological list of.
quotations in page 11,—he mentions Dandin first, Bha- —
maha second, Udbhata third, Sahitya-mimamsa fourth.
fac Bhiojastrth. 4
Chronology of authors
in the book.
é
_
Pratapa-rudra-yaso-bhtsana has a commentary by
EPApepaerdeie., + conn Kumara-svamin who is said to be
mented upon by Kumara- the son of the well-known comment-
oa
“¥ Aidan
<a |
= a ey
PREFACR. eeelil
three times his father Malli-natha’s Tarala commentary
on the Hkavali. He also quotes from various other
commentaries of his father. His commentary on Pra-
tapa-rudriya is called the Ratnapana, te, the Market
of Jewels. He is generally placed at the end of the
14th century, or in the beginning of the ldth. His
commentary is very useful as it quotes a large number
of passages with references.
SAHITYA-DARPANA BY VISVA-NATHA.
Sahitya-darpana by ViSva-natha is the most remark-
able work on Sanskrit rhetoric. He
describes himself as the Sandhi-vigra-
r hika or minister of Peace and War of a
-king of Orissa. He also describes himself as the Maha-
‘patra or Finance minister and as proficient in eighteen
languages, But the most interesting epithet, he assumes
in the colophons, is Dhvani-prasthapana-paramacarya,
4.é., he led the dhvani theory to its legitimate conclusions.
He is an out and out supporter of the dhvani theory. He
examines the definition of Kavya of his predecessors and
—Tejects them. He, even, criticises the definition of kavya
by the dhvani-kara himself and rejects it. His own
_ definition is simple, and very superior. It says, ** Vakyam
tasatmakam Kavyam’’. Where there is no rasa, ?.é., 10
esthetic enjoyment, there is no Kavya. Hven Mammata
could not rise to this height. To him a Kavya is ‘*Tad
aden Sabdarthau sagunavanalamkrti punah kvapi”’.
Mammata seems to have been afraid of rejecting the
definitions of his predecessors. Dandin defines Kavya
as “Istartha-vyavacchinna padavali”, Bhamaha, as
“Sabdarthau Kavyam,” Vamana, as “ Ritiratma Kavyas-
yay ” and the Dhvani-kara, as “‘ Kavyasya atma dhvanih”’.
ae old idea of writing works for the discipline of com-
Definition of Kavya in
_ the Sahitya-darpana.
Ceeclv PREFACE.
position, either in poetry or in prose, stuck to the Alankara-
Sastra almost to the end. But, Visva-natha with a true
appreciation of poetry gave Kavya a definition which is
on all fours with poetics. In this definition, he takes nol
note of rhetoric or discipline of composition.
The Ist pariccheda of Sihitya-darpana is a bold ©
attempt to show what
is; and Vi8va-natha h
a spirit of reverence and not of defiance.
Mammata as his upajivya or sustainer.
not spared to criticise him. |
Poeties proper
as done it with.
He Speaks of —
though he has-
Chapter I.
The 2nd pariccheda treats of vakya or sentence as the
principal constituent element in a
Kavya, and not Sabda and artha,
t.e., words and their meanin g, as in other rhetorical] works .
c 7
He treats of Sabda and artha as subordinate to vakya .
Cc
Chapter II.
The 3rd pariccheda is taken up with y
chapter Visva-nath
bhavas altogether,
asa. In this
a discards sattvika
They are, accord- |
| ing to his opinion, included in the : |
anu-bhavas. ‘The bi-bhavas and the anu-bhavag help in
the manifestation (vyakti) of rasa. Is it the Same thing as
light manifests things In @ room? « No,” says Viavax
natha. ‘They are there already.’ The word Manifestation
here means just as milk is manifested in dadhi by assum-
ing a new form. In the explanation of the two words
‘samyogat’ and ‘nispatti’ in the Bharata-stitra, Abbi-
hava-gupta summarises four theories : (1) utpatti-vada,
(2) anumiti-vada, (3) bhukti-vada, and (4) vyakti-vada,—
the last propounded by Abhinava-cupta himself. WVisva-
natha does not take notice of the other theories, put
Chapter IJI—taken up
with rasa.
PREFACE, CCCV
accepts the last and explains it. In this pariccheda,
he not only explains rasa, but also gives the classification
of heroes and heroines as a part of vi-bhavas. He defines
anu-bhavas including the sattvika bhavas and the transit-
ory bhavas.
Visva-natha classifies Kavya in the 4th pariccheda.
He says that there are two sorts of
Kkavyas: (1) in which dhvani prevails,
and (2) in which dhvani plays a subor-
dinate part. He altogether discards poems in which there
is no dhvani.
Chapter [V—classification
of Poetry.
In the 5th pariccheda, for the enjoyment of xsthetic
delight, Visva-natha discusses a 4th
vrtti or function of words, vz., Rasana
by which rasa is enjoyed. But ViSva-natha thinks it
is not necessary, vyahjana will do what is required.
Chapter V.
In the 6th pariccheda, VisSva-natha classifies kavya as
(1) that to be seen, and (2) that to
Chapter VI—Dréya and = he heard. That to be seen is drama.
Sravya. “ :
Different classes of poetry, ViSva-natha has a new feature in
the classification of dramas. Besides
the ten rapakas of Bharata and Dhanafijaya there are
eighteen upa-ripakas, while the Agni-purana speaks of
seventeen of them. The poems to be heard are either
in prose or in verse. Poems in verse may again be one-
verse, two-verse, three-verse, four-verse, or five-verse
poetry. Then comes the Maha-kavya, divided into sargas,
their number being 8 or more. The word sarga is not used
in prakrt but 48vasa, skandhaka, and galitaka. The word
Akhyana is used in epics by Rsis. When the Maha-kavya
is written in an Apabhraméa dialect, the sargas are called
- — Oe
ecevi PREFACE.
Kadavakas. A Khanda-kavya is only a fragment Of.
kavya. Bundles of detached Slokas are called Kos q
The prose is of 4 kinds: (1) free, (2) smelling versificatio.
(3) having rise and fall, and (4) powdered. Examples.’
(1) where there is no samasa, (2) with fragments of, vers )
(3) with long samasas, and (4) with short samagas
poems are classified as akhyayikas and kathas: and mie
a > : “| - ‘ or e
poems are called Campa, Virud, and Karambhaka an se
there is more dialects than one. Vi8va-natha himself } :
a work named Prasasti-ratnavali in which + eal
: : ch there Wem
16 dialects. (VI 531.) e
OY,
Proge,
The 7th pariccheda deals with defects (
words, of (2) constituent parts of words
of (3) sentences, of (4) meanings nl
of (5) rasa. At the end of the patil
cheda Visva-natha speaks of the instanceg jn Which a do {
may turn into a guna. In this section he treats of i
poetic licenses. ’
dosa) of (1)
Chapter VII—treats of
defects.
‘
The gunas are enumerated in the 8th
They are three in number.
: ness, spiritedness, and perspiouty
The ten gunas of other rhetoricians are included im
these three. The writer does not acknowledge the ex _
cellences of meaning.
Pparicch eda,
Chapter VIII. vUZ., Sweet: |
In the 9th pariccheda, ViSva-natha treats of riti ann
the method of putting words together,
They are according to him four: (I)
Vaidarbhi, (2) Gaudi, (3) Paficali, and (4) Latika. Previous
thetoricians never laid down any principle by which to
distinguish between figures of speech pertaining to words —
and those pertaining to meaning. But Visva-natha lays /
Chapter [X.
i PREFACE. cceevil
down that where the figure remains unchanged when the
words are changed, the figure pertains to the meaning of
_ words ; and where it cannot stand the change, it per-
tains to the words themselves.
It is curious that even a bold thinker like ViSva-natha
has included the pictorial verses or
poems among figures of speech. But
he rejects Prahelikas and duskaras.
His father.
- At the end of the work Visva-natha says that his
father’s name was Candra-Sekhara. His father, he has
described in another place, as sandhi-vigrahika, and as
mahapatra. He was regarded as proficient in 14 lang-
uages and a Maha-kavi8vara.
Fifth in ascension from him was Narayana. He
was a connoisseur of poetry and
& regarded as an authority by connois-
gseurs. He was a bolder thinker than ViS8va-natha. He
said that strikingness is the essence of rasa, and, therefore,
adbhuta is the only rasa.
His ancestor, Narayana,
The time of Visva-nitha is very difficult to find out.
In a verse written by his father
Candra-sekhara, the author praises
one Bhanu-deva of Orissa whose queen was Uma (cf.
Umi-nimni maha-devi tad-vallabha Bhanu-deva-nrpati—
_ étc., vrtti on II. 26). We have got the names of queens
of the kings of Orissa down to Nara-simha-deva IV in
1885, but there we find no queen of that name. That,
however, is no reason to think that she did not exist.
) The Oriya kings often had many wives. The poet
(andra-sekhara may not have named the queen who
Date of Vidsva-natha.
a
4
ae, 4 a .
eecviil PREFACE.
had been the mother of the next king as do_ the
inscriptions published in J.A.8.B., 1895-96,
Visva-natha’s date, I think, should be fixed at the
beginning of the 14th century for the
Internal evidences. 2
following among other reasons :-—
(1) He speaks of Ala-ud-din Khilji in a way which
none but a contemporary can do. A treaty
with Ala-ud-din means ruin and a war means”
extinction. There can, therefore, be no
war or no treaty with him. So Visvacnathe |
says in his vrtti that cession of territory
or gift of money is the only means of deal-
ing with him.
(2) There is a MS. of the Sahitya-darpana in
Kasmira, mentioned in Stein’s catalogue said
to have been copied in Sam 1440=1394 A.D}
That requires that the work should be written —
by the beginning of the 14th century,
(3) His father Candra-sekhara speaks of Kino
Bhanu-deva whose queen was Uma. Me
there is no queen of that name civen in
the inscriptions, we cannot assume that
King Bhanu-deva had no queen of that
name; for the Oriya kings generally married
many wives. ,
(4) In the beginning of the 15th century, Malli-
natha’s son, Kumara-svamin quotes Sahitya-
® darpana twice in his commentary on the
Pratapa-rudra-yaso-bhtgana, pp. 245 and
248, B.S.S.
(5) His father Candra-sSekhara in praising Bhanu-
deva, may have written that verse in that
Ld
aad
ity eee
PREFAOR. eceix
king’s time, z.e., 1261-1278 A.D. In that
case, ViSva-natha would come either in the
reign of Nara-simha II or Bhanu-deva II.
He thus becomes a contemporary of
Ala-ud-din Khilji and there remains no
difficulty of his work being copied in 1384
A.D.
(6) In his commentary on the Kavya-praka8a,
in which Sahitya-darpana is quoted, Vi8va-
natha refers to a Nara-simha-vijaya-kavya
by himself (S. K. De, Vol. I, p. 237). His
father speaks of Bhanu-deva and his queen.
So ViSva-natha’s Nara-simha must be
Bhanws son who is said to be Kavi-priya
in the inscriptions,—the second king of
that name.
There is a Candi-dasa who is credited with moot-
ing a new idea of Khanda-rasa and
is described by VisSva-naitha as the
younger brother of his grand-father at the end of the 7th
pariccheda ot Sahitya-darpana. Some say that this is the
Candi-dasa, the lyric poet of Bengal, which is absurd;
Some again say that he is the commentator of Kavya-
prakasa and his commentary is called the °Drpika.
This may or may not be, for there is a Candi dasa, a
Mukherji, who in the 15th century wrote a commentary
on Kavyaprakasa. He was the head of a Pundit family,
eleven generations of which are recorded in the Grammar
Section of this catalogue dealing with the grammatical
school of Samksipta-sira. He was represented at a great
assembly of the Brahmins of his denomination near Kalna
in 1482 A.D. where he was included in the endogamous
group called the Vanga-mela.
Candi-dasa.
ccex PREFACE.
In the Sahitya-darpana we find, a@ Dharma-datta
quoting with admiration a dictum of
Narayana, the great-great-ocrand-
father of Visva-natha on adbhuta rasa. Dr. De Says
that Dharma-datta was vanquished by Narayana in the
court of Narasimha-deva II (?). It is stfange, however,
that Dharma-datta should turn into 4a great admirer of
his opponent. |
Dharma-datta.
Of the four commentators of the Sahitya-darpana
| the most popular is Rama-carana
‘Rema-carana Torke- ‘Tarka-vagisa, who wrote in the year
vagisa,—commentator of
Viéva-natha. 1701 A.D. He was a Chatterji and
his home was at Raya-bati, thana —
Rayana, in the Burdwan district. Sixth from his brother,
Kali-carana, was Prema-cad Tarka-vagisa, the well-known
professor of rhetoric in the Sanskrit College, Calcutta.
RASARNAVA BY PRAKASA-VARSA.
Prakasa-varsa’s Rasarnava has been recently pub-—
lished in The Indian Historical Quarterly as a Supplement.
The editor V. Venkata-rama Sarma thinks, Intro. page X,
‘“‘it is possible to say that Bhamaha and Dandin are _
dependent on Prakasa-varsa and hence Prakaga-varsa
must have flourished before Bhamaha and Dandin and
after Bana Bhatta, v.e., between 650 A.D. and 750 A_D.”
Sarma has taken pains to show that many of the ideas
of these two authors are similar to those of Prakaéa-
varsa. But that does not show dependence nor pos-
teriority in time. The sabdalankaras of Bhoja seem
to have been exploited by PrakaSa-varsa in his work.
Dr. De says that Prakasa is later than Bhoja. He thinks
that “this work (Rasarnava) also shows influence of
Bhoja (Srngara-prakasa). It is a recent composition.”
PREFACE. ceexl
Bulletin of the school of Oriental Studies, Vol. IV, Part
II, p. 283.
% Sarma is right in thinking that Prakasa is later
_ than Bana-Bhatta because Prakasa directly mentions
Bana (III. 87). But he is not right in thinking that
_ he is earlier than Bhamaha. He quotes directly from |
_ Mahabhamaha, 7.e., a larger recension of Bhamaha. .
Just as Manu, Vrddha-manu and Vrhan-manu are
different recensions of Manu, so are Bhamaha and Maha-
bhamaha different recensions of Bhamaha’s work. If
Prakasa quotes from Maha-bhamaha he quotes a later work
than Bhamaha’s original work and so he must be much
later than Bhamah than if he had simply quoted Bha-
maha.. Is Sarma justified in inferring the existence
of two Bhamahas from the facts detailed by him? As
4 regards the priority of Dandin to Bhamaha I have
already said my say in the earlier part of this preface.
I think with Dr. De that Prakasa is a later writer.
a
ie
‘i
DEVENDRA OR DBEVESVARA.
Kavi-kalpa-lata by DeveSvara, son. of Vagbhata,
| minister to a king of Malava, is a
work on the training of poets. The
work is a lata or creeper and it has four bunches of flowers,
_ (stavakas),—containing four, five, six and seven flowers
j respectively. (See our Catal. Nos. 4794-4798A.)
Kavi-kalpa-lata.
(1) Sabda, (2) Slesa, (3) Katha, (4) Artha.
| (a) Practice of versi- (2) Description of (a) The Attention of (a) The subject
| fication. things. Kings. matter.
| (6) Ordinary words. (b) Colouring. (6) Hymn to the Gan- (0) Strikingness,
(c) Arrangements of (c) Miscellaneous. ga. (c) Diagrams,
letters. (d@) Numbering. (c) Name of God. (ad) Simile,
ceecxil PREFACE.
(1) Sabda, (2) Slesa, (3) Katha, (4) Artha.
(d) Alliteration. (e) Usage. (d) Conversation with (e) Metaphor.
Brahmins. (/) Solution of rid-—
(e) Description of dles.
tanks, etc. (7) Riddles,
(f) Defiance to the
opponents.
This is not a subject proper to rhetoric or poetics ; |
but the Sanskrit rhetoricians from very ancient times
include this Kavi-Siks&é, into their 8astra, and later. it
has become a branch of the sastra with severa] ;
fications.
rami-
Dr. De says that Devesvara has pilfered ang plagiar
ised from the works of Amara- 7 as
Amara-candra and Ari- and Ari-simha Fiflyeotis Soak canara
siroha. “rae el’ joint work is —
named Kavya-kalpa-lata or Kavit
rahasya. Ari-simha’s father wrote a poem in hono
of Vastu-pala about the year 1242.
a:
ur
Dr. De thinks that Devesvara was a contemporary
of Hamvira Cauhana, prince of Rin-
tambore irom whose hands Al§-ud-din
wrested that impregnable fort at the end of the 13th
century A.D.,—because in a riddle Deveivara . praises
Hamvira-mahi-mahendra. J! have shown before. the
futility of identifying every Hamvira with the Hamving
of Rintambore, for Hamvira in Sanskrit in thoge days
meant a Muhammadan chief.
Date of Devesvara.
Devesvara described himself as son of Vagbhata, a
minister of Malavendra, and we even
from history that Malava was annexed
to Gujarita in the middle of the 13th century, and
Gujarata was annexed to the empire of Ala-ud-din in the
very beginning of the 14th century. Where could a Mala-
Date.
PREFACE. ceexill
vendra be at that period? IL would therefore propose that
DeveSvara was the son of Vagbhata, minister to a King of
Malava belonging to the Khilji dynasty at the end of
the 14th century. These Khilji kings used to employ
Hindus as ministers. I have shown in the Grammar
portion of this preface that Punja-raja, the grammarian,
was employed as a minister by one of the Khilji kings
of Malava, named Gias-ud-din Khilji. He is not Gias-ud-
din Tughlak as I have said in Catal. No. 4439.
APPAYA DIKSITA.
Appaya Diksita’s Kuvalayananda has already been
dealt with in connection with Jaya-
deva’s Candraloka. He wrote many
other works ; one of which, Citra-mimamsa was for a long
time regarded as anonymous. It has now been settled
that itis by him. It is a work most likely left incomplete
by the author. It has no claim to originality. The
author admits two classes of Kavyas,—dhvani and guni-
bhita-vyanga, and rejects the third, viz., Citra of Kavya-
prakasa. As in KKuvalayananda, in this, too, alankaras
are more fully dealt with. (Catal. Nos. 4874-4877.) It
has a commentary by Bala-krsna Paya-gunde (4878).
Citra-mimamsa. ,
Another work by the same author is Laksya-laksana-
samgraha. It is a short work dealing
Lakeya-lakgane-sam- = with laksana. The contents have
aoe been mostly taken from Candraloka ;
a few new Slokas have been composed. The object of
the work is to help young beginners in understanding
rightly the Alankara Sastra. (Our Catal. No. 4888.)
Our Catalogue has another work by the same author.
The work is called Vrtti-vartika and.
Vrtti-vartikam. re ; ;
is an argumentative work on the three-
CCCGX1V PREFACE.
fold imports of words, abhidha, laksana and vyafijana,—
as accepted in Kavya-sarani and by rhetoricians. But
there are points in which the ancients are not clear, and
here our author wants to make them clear. Our Nos. 4897
and 4898 both contain two chapters only, but Aufrecht
speaks of a third chapter on vyakti. 4q
In all these works there is very little of originality. —
But their clear exposition and lucidity
in expression made them very popular
and also evoked a good deal of hostile _
criticism. Jagan-natha Pandita-raja condemns the author
as a slavish imitator of Rucaka and Jaya-deya, Jacan- —
natha himself wrote a work named Citra-mimamsa-khan- §
dana. The Kuvalayananda had also many hostile
criticisms. — |
Citra-mimamsa-khan-
dana.
Bhima-sena wrote a work named Kuvalayananda-
khandanam or. Alankara-; Ee ,.:
NaC (Catal. No. 4895), in which he ail
: fault with some of the new alankaras
invented by Appaya and some old alankaras as explained
by him. Bhima-sena flourished in Jodhpur during the —
reign of Ajita-simha, the son of YaSovanta-simha who
died in Kabul about the year 1680 A.D. Bhima-sena
in his commentary on Kavya-prakaSa also had his flings at —
Appaya Diksita. |
Our Catal. No. 4896 says that some panditas misled
by their respect for Kuvalayananda do not gee things
properly though there is the Kavya-prakasa to guide them
in the proper way. Therefore, a criticism of that work
has become necessary, and the number of alankaras should
be put down at 61. At the end, the work says that the
Oe)
:
PREFACE. ccecxv
“number 61 has been accepted by Deva-natha Tarka-
5 - paficanana, | Maha-mahopadhyaya Govinda and Jaya-rama
‘Nyaya-paficanana. Rajendra-lala in his L. 1447 calls this
4 work Eka-sasthyalankara-prakaga. In this Catalogue
it is registered as Kuvalayananda-khandana.
va
é
These hostile criticisms had their retort. Nila-kantha,
” a relative of Appaya, attempted a
i} Commentators on Appa- def aot hik al ; om
We, lefence of his works and wrote Citra-
mimamsa-dosa-dhikkara. Appaya,
however, was very fortunate in his commentators. Men
like Nagoji Bhatta, Vaidya-natha ‘Tat-sat, Asa-dhara
and Ganga-dhara Bajapeyin were commentators of Kuva-
layananda; and Dharananda of Bharata-pura commented
upon the Citra-mimamsa.
According to Maha-linga Sastri, Appaya flourished
Fee inte between the years 1520-1539 A.D.
(See Maha-linga Sastri’s article,
“More about the age and life of Srimad Appaya Diksita ”
J.O.R., vol. III, part I.)
ALANKARAS BY THE CAITANYA SEOT.
The Caitanya sect in Bengal cultivated the alankara
Sastra in many of its phases. Rupa
Gosvamin wrote Nataka-candrika, a
| work on dramaturgy (4934A), and
Ujjvala-nila-mani (4904A), a work on rasa which again
has a commentary by his nephew, Jiva Gosvamin.
Ripa Gosvamin and Jiva
. Gosvamin.
But the great work embracing all the topics of
alankara was written by Parama-
nanda Sena (better known by his title
Kavi-karna-para), the son of Siva-
Kavi-karna-pura and his
works.
| ecexvl PREFACE.
| nanda Sena of Kaficra-para 30 miles north of Calcutta, in S
| the middle of the 16th century. Loka-natha Cakra-vartiD,
wrote a commentary on this work. All the illustrations
are the original composition of the author and they are
all in praise of Krsna. The name of the work is Alankara-
kausttbha. The word kausttibha means a vem hanging
from the neck; so the chapters are called kiranas or rays.
The work is our No. 4870 and the commentary 4871
by Loka-natha Cakravartin. Kavi-karna-ptira eoes over
many of the topics of Kavya-prakaSa and has 2@
chapter on riti.
Kavi-karna-ptra was a voluminous writer. He has
written dramas, epic poems and he traced the associates of
Caitanya through many incarnations of Visnu in_ his
Gaura-ganoddeSa, z.e., Traces of the associates of Gaura.
There is a commentary named °Didhiti-candrika by
Vrnda-vana-candra Tarkalankara
Cakravartin, son of Radha-carana
Kavindra Cakravartin (1.0. 1195) who bows at the feet
of Kavi-karna-ptra.
Nataka-candrika.
Another work named Alankara-kaustabha by Visve-
Svara, son of Laksmi-dhara Suri, is a
modern work professing to give many
phases of alankaras. It treats of
only arthalankara from a variety of works. It has an
abstract entitled Alankara-muktavali for the use of
beginners (Mad. 12792).
Alankara-kaustibha.
(I.0. 1196.)
In his Nataka-candrika, Rapa Gosvamin accepts the
idea of Bharata and Singa-bhipati and rejects those of
Visva-natha Kavi-raja as opposed to Bharata. This sect
f
PREFACE. eeexvil
Sta
ged many dramas and so they required a work on
dramaturey of
a some sort; and Ripa gave them his
ataka-candrika. But he was a good scholar and followed
. B } - e . »
Narata, though he arranged his book according to his
OWN idea,
There is another work entitled Alankara-kaustabha
ne by Kalyana Subrahmanya Stri which
Alank@ra-kaustibhn. os aes soe <a : +]
(Mad. 12790) defines the alankaras given in the
Candraloka and illustrates them by
examples of his own composition,
There is another work of the same name (Mad. 12785)
Reisrackeustabhs, by Venkatacarya of Tirumala-bukka-
(Mad. 12785) pattana. It says that the figures of
speech, both pertaining to words and
to their meanings together make the number 108. The
writer belonged to the Syi-saila family. Sri-nivasa gave
him the title of Tarkalankara-vagisvara, and encouraged
him in writing this work.
Alankara-sekhara by KeSava Misra is the first work
mentioned in the present Catalogue.
| The author was an expert in Nyaya
and Vedanta. He wrote seven works on alankara but
these were a hard nut to crack to those who did not know
Much of Hindu philosophy and, therefore, he was induced
to write a work in easy and flowing language and that
is Alamkara-Sekhara.
Alamkara-sekhara.
The author’s patron was Manikya-candra who was
an expert in kavya and alamkara. In order to advance
the knowledge of the first principles of alankara he
asked Ke8ava Misra to write this book. Manikya-candra’s
father was Dharma-candra and grandfather Rama-candra.
ecexvill PREFACE.
This Rama-candra, in a terrible war, between a creat
and impetuous Sultan of Delhi and the rising king of |
Kabul, displayed feats of valour and killed millions of
|
,
men. Shortly after, finding the earth polluted with |
putrid human bodies, and finding his enemies. by fallsne in
4 » by falling in
war, gone to heaven, went himself there in order to conquer
them once more. The war mentioned here is that between
Ibrahim Lodi and Babar in 1526 A.D. and the death
of Rama-candra took place in 1528 A.D. The country in
which Rama-candra reigned is not given in this work,
but it is known from the fifth Volume of Cun a
Ss" 7
ham’s Archeological Survey Report, Page 159 that h
> ' 1ée
reigned at Jalandhara. His son Dharma-candra reigned
ch he aa
there from 1528 to 1562 and came in contact with Akbar
who took the old raja in his favour. Manikya-candra beoonin
to reign in 1563 and continued till 1571. This Manileya ,
candra was the patron of KesSava Misra.
Kesava Misra based his work on the Stitras of
one
whom he calls Bhagavan Sauddhodani. Perhaps he «want
ANS
to say that these sttras were by Lord Buddha himself
The stitras are not written in sttra but in karika al
There are altogether 108 karikas. The work jis calla
Alamkara-sSekhara or the Crown of Rhetoric. The crown |
has eight gems or ratnas :—
SURAT AYU HAS Atss aaa: |
awera: Raawa aaa ay faa: |
from which issued twenty-three rays or maricig, VIZ...
AGS AIFTR AWery artaaz: |
~C —
aay at wea ¢ VERY WaT: |
This gives twenty-three maricis in all. But the Kavya-
mala edition records only twenty-two maricis, because
it omits to record the number 13 at the end of the
i 2 ,
; ‘ ‘ SU
——
«
|
|
|
|
|
|
|
—_
th
os \
¥
q
| 4
PREFACE. CCGXI1X
Maricis of the fourth Alamkara-ratna, and so its number
falls short by one.
The date and place of Alamkara-Sekhara being known,
it is needless to examine the work to find the chronology.
But the date and place of the karikas, being unknown,
Tequire careful examination. They do not appear to be
very old because they speak of three ritis, Gaudi, Vaidarbhi
and Magadhi, three vrttis, abhidha, laksanad and vyaijana.
The ritis have their origin in Dandin’s work and the
three vrttis in the karikis of the Dhvani-kara, say, by
the middle of the 9th century A.D. So, this Sauddhodani
or Bhagavan Sauddhodani cannot be Lord Buddha,
but a late writer who cannot be placed earlier than the
llth century A.D. The definition given of Kavya is
“aly catfeaaqia sa Gufataand ”
Which is a very late definition.
Kesava-Misra often refers to one Sri-pada, perhaps,
his own Guru. But the quotations are not from Saud-
dhodani’s karikas.
One new feature of this work is the direction given
to poets in the matter of describing the charm of females
and the valour of males. In later rhetorical works
these topics are given under the head of Kavi-siksa.
Though Sauddhodani defines Kavya as ‘‘ Rasadimad
_ vakyam’’—it is curious that he deals of rasas at the
end of his work.
RASA-GANGADHARA BY JAGAN-NATHA.
The last great work on rhetoric and literary criti-
cism is Rasa-gangadhara by Jagan-
natha Pandita-raja, the Sanskrit tutor
of Dara Sheiko, the eldest son of Emperor Shah-jehan of
EE eee
Jagannatha’s Pedigree.
ge ee ee
CCCAX PREFACE.
Delhi. The family of the author hailed from the Andhra
country and he may be regarded as the literary successor
of Vidya-natha and Singa Bhipila. J agan-natha was the
son of Peru Bhatta and Laksmi. Peru Bhatta received
his education in Vedanta from Jfhanendra Bhiksu, in
, Nyaya and Vaisesika from Mahendra, in Mimamsa from
Khanda-deva at Benares, and in Sanskrit stammar from
Sesa VireSvara, son of Sesa Nr-simha who was the author
Of Prakriya-prakasa. Jagan-natha was himself a& very
learned man. He wrote books in many branches of
Sanskrit literature, notably in kavya and alamkara.
His Samrat-siddhanta is a comprehensive work on
Astronomy. In Sanskrit poems, he praised Dara Sheiko,
Asaf Khan and Prana-raya of Kama-ripa. Hig wots
on grammar have been already spoken of.
His work on alamkdara is entitled Rasa-Ganea-dhara.
Rasa is compared to the Ganea and
the work to Maha-deva Wwho- holds
the Ganga on his head or heads. Maha-deva is said to
have had four heads. His phallic emblem at Pasu-pati-
natha has four faces. In Nepala, the majority of phallic
emblems have four faces. The Saiva priests of Pasu-pati
hail from the Andhra country; where the four-faced
emblem of Siva is worshipped. All these faces are directed
to the cardinal points—North, East, South and West.
and from these mouths flowed the tantras belonging to
the Uttaramnaya, Parvamnaya, Daksinamnaya and Pagoj-
mamnaya. The fifth face of Maha-deva is said to have
been snatched away by him from Brahma and put on
the top of his heads. From this mouth flowed the |
Urdhvamnaya. The modern tantrikas of Nepala speak .
of another face below his chins, from which flowed
the Adha-amnaya, 7.e., the Buddhist tantras.
Rasa-gangadhara,
PREFACE. eecxxl
.
Jagan-nitha seems to have been a supporter of the
tradition of the four faces of Siva. He divides the
Alamkara-sastra in four ‘ananas’ or faces; they are:
(1) Uttamottama, (2) Uttama, (3) Madhyama and
(4) Adhama. (Kavya-mala Edition, p. 5.) As regards
the fifth he says. *“‘yadyapi yatrartha-camatkrti-samanya-
Sinya Sabda-camatkrtis-tat-pancamam-adhamadhamam
api kavya-vidhasu ganayitum ucitam”’ (ibid., p. 20) and
“vastutah kavyatvabhavena maha-kavibhih pracina-
paramparam anurundhanais tatra tatra kavyesu nivaddham
api nasmabhir ganitam’”’ (ibid., p. 20).
So Jagan-natha did not believe in a fifth face of
Ganga-dhara and did not write a fifth chapter on adha-
madhama kavya.
The MSS. of Rasa-ganea-dhara and of its commentary
all end somewhere in the second ‘anana’ of his work.
The inference, therefore, is that he was not able to
finish his work. Perhaps the fall-of Dara Sheiko and his
followers ended the literary activity of our great author.
The definition of kavya by Jagan-natha seems to
be an echo of Dandin who defines it
eae as ‘“‘Istartha-vyavacchina padavali.”’
Jagan-natha defines kavya as ‘‘ Rama-
niyartha-pratipadakah Sabdah kavyam.” He discards all
other definitions, e.g., ‘‘Sabdarthau kavyam,” “ vakyam
rasatmakam kavyam,”’ etc., and he comes to the pithy
conclusion—‘“‘ kavya-jivitam camat-karitvam cavasista-
meva.”’ Jagan-natha has one peculiarity. The examples
he gives are all his own composition. Jagan-natha is very
hard on his own countryman Appaya Diksita, whose
Citra-mimamsa he subjects to scathing criticism. Even in
CeGcxxil PREFACE.
this work on rhetoric he missed no chance of abusing
and criticising Bhattoji Diksita. q
There is a commentary to the Rasa-gangadhara b
Nagesa Bhatta (I.O. Catal. 1204). a
NANJA-RAJA-YASO-BHUSANA BY NR-SIMHA.
Nanja-raja was the Chief minister of KXrsna-rajy
ay’ | King of Mahi-stra (Mysore) in the
Tee Caine tae middle of the 18th centurv ,
usana. J ? Who
usurped all the powers of the King —
and was the de facto ruler in his name. Navija-raj, 4
was the patron of Hydar Ali, who reduced him to the
same condition as he did his king. Nafija-raja wat
however, a patron of letters, and Ne. ;
simha kavi, son of Siva-rama, and .
Disciple of Yogananda Yati, wrote a work on alankars
every illustration of which is in praise of N afija-raja
his patron. It is written in imitation of the, Pratapa,
rudra-yaso-bhasana by Vidya-natha. As Vidya-natha
wrote a model drama entitled Pratapa-rudra-kalyang
in four acts, to _ illustrate ie
Written in the wake of = principles and technical terms of
a aioe oa dramaturgy, and threw it int
bhiisana Oo the
ihr) main work, so has Nr-simha written
a new drama entitled Candra-kala-kalyana and has
thrown it into the main work for the same purpose.
The author Nr-simha wrote many dramas, and obtained
the epithet Nava-Kali-dasa. One of the epithets of
Nafija-raja was Nava-Bhoja-raja. (See Prastavana to
the new drama.) Nafja seems to have *
written a drama in Sanskrit entitled ‘
Sangita-Ganga-dhara, and two poems in Kanarese en-
titled Halasya-carita and Siva-bhakta-vilasa. At the
Nr-simha, the author.
Nafija’s works.
‘
PREFACR. cCCXXill
_ end of the work we hear of another poet Altra Tirimala
who had the epithet of Nava-Bhava-bhiti. He was a
friend of Nr-simha and perhaps was an ornament of the
court of Nafija-rija. Nr-simha was the founder of a
, society of literary men and poets who were bold enough to
_ write long pieces every day without assistance. His
father was regarded as an incarnation of Siva.
:
d
The model drama in Pratiapa-rudra-yaso-bhiisana had
a meaning. ‘The reigning queen saw
in a dream the coronation of her
daughter’s son. She sent the young
prince on a conquering tour. He came back victorious and
_ was crowned, and Pratapa-rudra was a powerful king who
extended his dominion all round. ‘The drama was suited
to the occasion.
Pratapa-rudra® and.
Nafija-raja°.
But the suitability of the Candra-kala-kalyana is of a
“ doubtful nature. Nafija-raja went to a
be Ms; Sha aa hunting expedition, saw a girl coming
to worship in a temple, fell in love with
her, Iuck brought them together but other circumstances
intervened and they separated. Nafija-raja was disconso-
late and came back to his capital where he was greeted
with the good news of the conquest of Kerala and of the
_ discovery of a hoarded treasure and also of the capture
of a foreign ship loaded with treasure at the mouth of the
Kaveri. But the most welcome news that greeted him
was an invitation from Ratna-kara, King of Kuntala, to the
h ) svayambara of his daughter who accepted Nafija-raja as
her husband and she turned to be the lady of the forest
L temple. At every turn of the drama, the author of the
} thetorical work intervenes and explains the steps by
which the plot develops. This way of treatment, though
/ ‘
a EEO Uh
a
CCCxXxX1V PREFACE.
it interferes with the enjoyment of the drama—is very
useful to students of dramaturgy. The work has nothing
original in it. But it surveys the whole range of the
alankara sastra, and gives summaries of rhetoric, poetics,
dramaturgy and literary criticism. The treatment is brief
but very lucid. The definition of Kavya is very peculiar.
It says that words and their meanings constitute Kavya.
But these words and their meanings should be joined
together according to the convention of poets. This
definition brings the function of words and the functions
of their meanings into prominence and so Come the three
functions —abhidha, laksana and vyajijana, 2.€., the direct
and indirect functions and the reverberation. The vrttis,
ritis, Sayya and paka come along with the treatment of
words and their meanings.
The 3rd chapter treats of dhvani or reverberation and
goes over the same ground as the 4th and 5th Chapters of
Kavya-prakasa.
Rasas and bhavas have a separate treatment in the
4th vilasa or chapter of this work.
The 5th chapter speaks of gunas and dosas, the 6th
of dramas, and the 7th of the alankaras.
The work is in the process of publication in the
Gaekwad Oriental Series; but I have got the advance
forms by courtesy of the General Editor.
OTHER WORKS ON ALANKARA NOTICED IN ouUR |
CATALOGUE.
Rucaka besides his Alankara-sarvasva wrote another
| z work -called Sahrdaya-lila (our Nos.
SEE has 4853 and 4854). This work was
PREFACE. CCCXXV
hitherto undescribed. Four elements constitute the supe-
Niority of men and women, viz., (1) the handsomeness
,of the person, (2) ornaments, (3) life and, (4) surround-
ings; and there are four chapters in this work, called
Ullekhas, treating of these four elements. Those who.
know the elements are called nagarikas or fashionable
people.
Alankara-ratnikara by Sobha-kara-mitra is a work
on rhetoric (Our No. 4855). Sobha-
kara was the son of Bhatta-trayi-
Svara. Bithler thinks that it is a work later than Vimar-
sini,—Jayaratha’s commentary on Alankara-sarvasva. It
has stitras on figures of speech numbering 107. Yasaskara
Wrote the Devi-stotra for illustrating each of the sttras
of Sobhd-kara ; and Ratna-kantha in the middle of the
I7th century explained how a verse of the hymn explained.
asttra. The work containing the siitras, the stuti verses
and the udaharana-samanvayas is called the ‘‘ Alankara-
ratnakarodaharana-sannibaddhadevi-stotram.”’ (Our
No. 4856. )
Alankara-ratnakara.
Our Catal. No. 4857 entitled Candra-karika is a
very interesting work; because the
author was a Buddhist named Ratna-
sti-jfiana who hailed from Ceylon. The MS. has. been
found in Nepal. The author begins his work with an
invocation to Sambuddha, He says that the meaning of a
word may be either jati or kriya or dravya or guna or
nama. The author wrote the work at the earnest request
of Deva-datta. If there is any merit in writing the
book, let the whole world become Buddhas by that merit.
He thinks that the knowledge of sabda and artha leads
to the attainment of true knowledge, whether you desire
terrestrial or celestial bliss.
Candra-karika.
ecexxvl PREFACE.
Varna-ratnakara by JyotiriSvara J\avi-Sekhara who
lived in the reign of Hari-simha o
Mithila at the beginning of the 14th
century, is also a remarkable book. It gives directions
to the poets how persons and things are to be described.
It is not in Sanskrit; it is in old Maithili which can
scarcely be distinguished from old Bengali both jin lan-_
suage and in script. As the work is a ratnakara or ocean,
it is divided into kallolas or waves. The author is credited _
with writing many works—one of which is Dharta-
samagama, written for the purpose of Siving a erand ova-
tion to Hari-simha for his victory over the M uhammadans. ;
Another of his works is Pafca-siyaka, a work on erotics.
Varna-ratnakara.
Varna-ratnakara gives direction to the poets how a
city 1s to be described, how a heroine is to be described,
how a season is to be described, how a cremation eround is”
to be described, and so on. It gives the names of the
traditional 84 wizards and an exhaustive enumeration
of lower castes. (Our Catal. No. 48574.)
Kama-samtha is by Ananta who wag the gon of.
Tri-mandana belonging to the Bha-_
malla family.. (Our Catal, No. 4859A.)
‘Gas object of the work is the same as that of the previous —
one, viz., to give directions to poets how to describe.
the beauty of a woman ina poem. It describes situations
in love, the youth of a lady, her hair, her eyes, her breasts _
and so on. The author says that he has churned the — |
ocean of _ Kama-sastra to get this nectar of enjoyment. It —
was composed in the Samvat year 1514—1457 A.D. Tre
mandana was a practising physician. He ig called a
Bhisan-mukutalankarahara and Vaidya-vara. The date —
is here given as stated in the MS.—<«« Samvat paficadase
prapte eeu tse veda-pravatsare.”’
Kama-samuha.
PREFACE. eeexxXvll
Ananta describes himself as Nagarabhyantara (in EO:
+1242), «e., he was a Nagara Brahmana belonging to
_ Nagara or Ananda-pura in Gujarata, the Brahmanas of
which are divided as abhyantara and vahya, ?.e., inner
and outer.
Ciranjiva was the descendant of one of the five Brah-
mins brought to Bengal by Adi-Stra.
He is well-known to the panditas otf
Bengal as the writer of Vidvan-moda-tarangini. He also
wrote a work on rhetoric named Kavya-vilasa, described in
our Nos. 4901 and 4902.
Kavya-vilasa.
Cirafijiva belonged to the KaSyapa gotra. His father
could pay attention to hundred things at one and the
same time. His name was Raghu-deva and for such
concentration of mind he was called Satavadhana. The
author takes the definition of rasa from old writers, but
the illustrations are his own. As the work is called
Vilasa, it has many bhangis.
Alankara-manjari, a short treatise on rhetoric,
designed for those who have not much
| time to spend at it, is by Nirmala
- Bhatta, son of Vallabha Bhatta of Benares (Nos. 4903—
‘i 4904), The work runs through 4 leaves and has 41 verses.
It treats of alankaras only—specially arthalankaras.
Alankara-manjari.
T
Alankara-samgraha (4905), Kavya-candrika by Rama-
candra Nyadya-vagisa (4906-4909),
Kavya-kaumudi (4910-4911), Anyokti-
‘ muktavali by Soma-natha (4912), Bandha-kaumudi by
| Gopi-natha (4915) are short modern works on rhetoric
which have been described in the Catalogue. ‘
Short works.
¥ -
y n “,
ccexxvVill PREFACE. ?
Ratnesvara wrote Kavi-sarani-dipika. He Wag
quick versifier. He gives the na
manne of five of his ancestors. He v
pained to find well-dressed good men sitting dumb
assemblies. So he wanted to give them some instructj
that they might be able to take part in the assembil
His Dipika or Lamp has five Udyotas or Raysill
(1) Conjugational and Declensional, (2) Syntax, (3) V > :
fication, (4) Gender, and (5) Poetry. i
‘
The author of Sahitya-ratndkara ig Dharma-ga,_
khyavat. As a ratnakara or ood
it has many tarangas or waves a
the illustrative verses are in praise of Rama. | It :
complete in ten tarangas, the last of which de is
The work generally follows the wake of Kk
though the arrangement is quite different.
Sahitya-ratnakara.
The father of the author was Parvatesa
in all the six philosophies of the Hindus
mother was Yellamamba. The author himself ee
cient in all the fourteen Sastras. He wrote Kr
Ravi-sataka and several dramas, he also wrote me
and alankaras.
Proficient
and his
as profi-
Sna-stuti,
n Kavyag
For a fuller description of the work gee the Trien
nial Catalogue of MSS., Vol. I, Part I-A, R. No. 306
OTHER WORKS ON ALANKARA NOTICED tn OTHER
s CATALOGUES oF MSS.
Sahitya-kautthala, a versified manual of poetic com-
position by Yasasvin Kavi, son of
Gopala and Kasi, with a commentary
by the author himself. The fist
S@hitya-kautihala.
(1.0. 1175.)
PREFAOR. CCCXXIX
chapter is devoted to the direction for the composition of
enigmas and other artificial poetry, e.g., padma-bandha,
cakra-bandha, sarvatobhadra-mandala, ete.
Kavya-candrika by Kavi-candra Datta, son of Kavi-
karna-ptra and KauSalya, is an ele-
mentary work, on rhetoric in 16
chapters. This Kavi-karna-ptira is a
_ different person from the Vaisnava writer of that name;
because he is described to belong to Dirghanga-grama, a
_ Village usually inhabited by Brahmins of Western Bengal,
_ while the Vaisnava writer was a Vaidya by caste.
Kavya-candrika.
(1.0. 1193.)
The striking feature of this work is that the author
_ frequently quotes verses composed by himself, his own
_ gammar and his own dhatu-patha. He is said to have
Written four poems.
Another work of the same name is LO. 1194 by
Nyaya-vaeisa, son of Vidya-nidhi. It
—
“oe ae e treats of rhetoric only, 7.e., dosa, guna,
canarika, : .
(1.0. 1194.) and alankara, for the benefit of young
learners,
The moonlight dispels the darkness of hostile criticism
of bad men. So the Alankara-candro-
daya is the Moonshine of rhetoric.
| The author of the work is Veni-datta
Tarka-vagisa, son of VisveSvara and grandson of Laksmana.
They belonged to a family of ministers of Kasi-puri named
Naga-cchatra-dhara family. It is an elementary work on
alankara in six chapters treating the subjects of rhetoric
and poetics.
Alankara-candrodaya.
(I.0, 1198.)
CCCXXX PREFACE.
Natya-darpana is by Sundara Misra professing the
Sama-veda. It was composed in 1613
A.D. The author often refers to his
drama named Abhirama-mani, com-
posed in 1599. At the end he says: the minor class of_
dramas—l15 in number—may be studied from other.
works. What these other works are, we do not know. He
himself treats of two classes of minor dramas, the Totaka_
and the Sattaka.
Natya-darpana.
(T.0. 1199.)
Alankara-samgraha by Amrtananda Y Ogin was written.
at the instance of King Manva-
samudra, son of Bhakti-bhami-pati
who was a devotee to Siva. The
king asked the author to give in one treatise rhetoric.
poetics, dramaturgy and literary criticism, z.€., all the
different branches of learning included in the Al
sastra.
Alankara-samgraha.
(Mad. 12794.)
ankara-
There is another work of the same name (Mad. 12795)
which enumerates only
The author’s name is not
catalogue.
alankaras.
Piven in the
Alankara-samgraha.
(Mad. 12795.)
ue
Alankara-sarvasva has a commentary entitled—°San-
- ~ aR he a 4 en
Alankara-safijivant. jivani by Sri-vidya Cakravartin who
(Mad. 12799.) wrote a commentary on the Kavya-_
prakasa also.
¥
-
‘
There is another Alankara-sarvasva on poetics and
rhetoric. The author’s name is not
known but we understand that the
| work was written in praise of a king
named Gopala. i, :
Aladikara-sarvasva.
(Mad. 12798.)
‘he
PREFACE. ecCXxxl
Kavi-samaya-kallola is written by Anantacarya, son
. of Singaracirya. This is a very
modern work as it quotes from Nanja-
ae raja-yaso-bhiisana. The author wrote
Krsna-raja-yato-dindima. another work entitled Krsna-raja-yaso
dindima from which he quotes in this
work. The °Dindima is a work on alankara, the illustra-
tions of which are all in praise of Kysna-raja whose
minister Nanja-raja was.
'
Kavya-darpana in 10 ullasas by Raja-cuda-mani
Diksita speaks of arthalankaras only.
He has written a large number of
works, a list of which is given in Mad.
12809: (1) Tantra-sikha-mani, (2) Nyaya-mukta-val, (3)
Aoni-hotradi- prayascitta-pradipika, (4) Nyaya-cida-mani,
a commentary on Ruci-datta’s work, (5) Mani-darpana, a
commentary on three khandas of Mani (perhaps Tattva-
cinta-mani), (6) Srhigara-sarvasva—a Bhana form of
drama, (7 ) Bhoja-campa, the yuddha-kanda of which was
Kavya-darpana.
(Mad. 12809.)
written in one day, (8) Bharata-campu, (9) Vrtta-tara-vali,
(10) Sankaracarya-tara-vali, (11) His father’s biography
ro = = 9 ~ ae «e
whose name was Sri-nivasa and who performed Visva-jit
sacrifice, (12-14) The stories of Rama, Krsna and
Vasava were written like the Vasava-datta with Slesa im
every letter, but unlike it in verse, (15) The story of Sita-
pati in sweet words, (16) A poem on the rise of Sankara,
(17) Kamsa-kavya, (18) Rukminyudvaha, (19) A natika
entitled Kamalini-kala-hamsa, (20) A nataka entitled
Ananda-raghava, (21) Alankara-ctida-mani, (22) Citra-
mafijari with Vrtti-viveka.
The genealogy of the author is given in Madras 12495,
in his drama Ananda-raghava :—
iyi? y I
*7 ‘
eecxxxil PREFACE.
Krsna-bhatta
|
Bhava-svami-bhatta = Laksmi
Satya-mangala Ratna-kheta Sri-nivasa Diksita — Kamaksi
Ardha-narisvara Diksita Raja-ctida-mani Diksita. .
(pupil of his brother and the
author),
The drama Ananda-raghava is said to have been
staged in the court of Raghu-natha-nayaka, son. of
Cinna-cevva Acyuta-raya. Reference is made to Ragchu-
natha-bhipa-vijaya of Yajfia-narayanadhvarin. “The
author had two step-brothers whose names were KeSsava
Diksita and Sesadri-sSekhara Diksita.
Kavya-laksana is an anonymous work
h eee f On the
characteristics of poems az
Hesy yen leans. compositions of in rei a lramatic
(Mad. 12829.) No iferent kinds. If is
a useful book about the Classification
of poems and dramas. It says that Virudavali and Tara-
vali are names of poems in which dhvani plays bute
small part.
Dasa-ripaka-vivarana is not a commentary as the
name would imply, but an independent
treatise on the characteristics and
classification of dramatic composition.
Kuppu-svami Sastri suspects that it probably formed the
nataka chapter of a comprehensive work on rhetoric and
poetics like the Pratapa-rudriya. The author’s name is
not given.
Daésa-ripaka-vivarana.
(Mad. 12892.)
PREFACE, CCCXNXANII
Rama-candra-yaso-bhtisana is written by Kaccha-
peSvara Diksita. It is a work on the
a dramatic rasas, the illustrations of
usana. . e . . a @
which are in praise of Bomma-raja.
(Mad. 12950.)
The author was a native of Brahma-
desa, a village in the north Arcot district. His father was
Vasu-deva Yajva and his erandfather was Kala-hasti8vara
Yajva.
Laksana-dipika is by Gaura-narva. son of Ayama-
prabhu. He was the brother of Mita-
Laksana-dipika. = oe of ‘oaeek
a "S18 r 79a Thea 2f AT CAVA
(Mad. 12951.) raja who was the minister of Singaya
Madhava, a king of the Recalla
family. The work is also called Prabandha-dipika or
Padartha-dipika. It is a work more on poetics than on
rhetoric.
Laksana-malika is a work on alankara. It treats
of rhetoric, poetics, dramaturgy and
Laksana-malika, apes pl. Be
(Mad. 12953.) criticism, It has a commentary en
titled Alankarendu-8ekhara by WNr-
simha of the Sri-Saila family. The commentator has an
original treatise on rhetoric of the same name (Mad.
12978). It is a work on poetics and rhetoric and has five
chapters: (1) Heroes, (2) Poems, (3) Rasa, (4) Guna and
dosa, and (5) Alankaras. The author was the son of
Dharmacarya.
Sahitya-kallolini is by Bhasya-karacarya who was
a born in the family of Varada-guru
Pe xs000 ; belonging to Vatsa-gotra and was a
. resident of Bhita-pura. It is not a
work on rhetoric, nor on poetics. The subjects dealt with
are: (1) classes of treatises, (2) small treatises, (3)
a er =
TT ease deem
ot
CC@XXxX1V PREFACE.
treatises which appeal to the eye, (4) acting and dancin ;
(5) subject-matter, (6) sandhi, (7) heroes, (8) commMenge
ment of dramas. (9) dramas, (10) minor dramas, (1))
poems. q
Sahitya-cinta-mani is attributed to Vira-naray
ana. |
has karikas and their
prose explana.
tions. Vira-narayana is also the hey,
_ of a carita by Abhinava Bhatt
It is a work on rhetoric and_ poetics.
/ ss gt
addressed to Vira-narayana.
Sahitya-cinta-mani.
(Mad. 12965.)
a Vana,
The. work is”
Alankara-nikasa eulogises the virtues of Sudhin dra
Yogin, a follower of the Madhva sent
It is a work on arthalankaya. The
author says that he follows the
opinions of the ancient and modern writers.
Alankara-nikasa.
(Mad. 12976.)
Though published in the Mysore Sanskrit
I may mention here the Alankara-mani-hara, a large work
exclusively on arthalankaras with vommentary, ~~ Born
the text and the commentary are very modern.
Series,
it | WoRKS ON Rasa.
| In this catalogue there are many works ony rasa, or
‘es, i Srngara or Ujjvala. Some of them
i Kaly ana-kallola. are g enerally regarded as belonging a
Male, | the Kama-sastra; but others may have a place among
works on poetics. Those that may fall in poetics treat of —
love to their fill, leaving very small space for other rasas,
They are generally of a monotonous character, devoting —
:
:
more space to the amorous description of heroines than to
PREFACE. CCCXXXV
| ; for the delectation of Kalyana Raya, son of Todala-malla,
Finance Minister of Akbar. It was written by Giri-dhara.
| This work, too, treats more of love (Srneara) than of the
1, other rasas. The author says, the rasas are nine to which
bhakti should be added. So according to one’s taste one
can devote oneself to any rasa.
In this catalogue there is a short section devoted to
| a letter-writers ; the first of which (our
| a“ No. 4933) is attributed to Vara-rucl,
| one of the nine gems in the court of Vikramaditya. But it
borrows many Persian words ‘ nabis,’ ‘kurfia,’? and quotes.
from modern works like Padya Kadam-vari. Ancient
Indian kings were very fond of virudas, 7.é., high sounding
tr epithets; so Viruda-vall, 7.e., a collection of virudas always
of
|
|
i" ‘ had a place in letter-writers as the superscriptions
letters addressed to a king should eontain all his Virudas
. or epithets.
) The study of Sanskrit Alankara is regarded as dry,
uninteresting, abstruse and difficult.
| Rhetoric is regarded as a science ot
nomenclature, and as such, it is open to the charges
| siven above. If this is true for rhetorical works 1 |
q other languages, it is truer in the case of those in :
|
| The Study of Alankara.
Sanskrit, for the authors of Sanskrit Alankara-sastra
have joined together, or rather, jumbled up four differ-
ent sciences in one. Much interest will be felt if they
|
|
| are separated and separately studied.
| The four sciences are :— .
’ (1) Rhetoric proper—meaning a discipline for com-
position in Sanskrit or in Sanskritic lan-
cuages, either in verse or in prose. This in-
cludes chapters on doga, guna and alankara,
t.e., defects and excellences of composition,
and figures of speech.
CGCCxxxvl PREFACE.
(2) Poetics—a discipline for writing short or long
works of imagination and fancy either in
prose or verse. This includes the chapter on
kavya or poetry, the best criterion of which
is dhvani or suggestion, better perhaps, rever-
beration. It presents a pleasurable sgensa-
tion of mind which is not easily shaken off.
(3) Dramaturgy—a discipline for play-wrights which
includes, in (2) dances, acting, and music:
both vocal and instrumental. This section
is meant more for appealine to the eyes
than to the ears.
(4) Criticism of Poetry—the latest addition to the
_ Alankara-Sastra made in the 9th, 10th. and
Jith centuries. It is not so much a disci-
pline as an appreciation. It is meant for
training the critic, not so much the poet.
But, later authors of the Sastra have tried to mix
up two, three or all the four of them together. Not to
speak of other works, Kavya-prakasa mixes up (1), (2),
and to a certain extent (4); and Sahitya-darpana
mixes up all the four together, and these are our beet
standard work for students.
It has been shown that rhetoric began ag an humble
discipline of one-verge poetry and
short pieces and of prose composition
in the Vedas. Then came the discipline of the actors
in Nata-stitras of Silali, of Krsasva, and perhaps also
of Bharata. But during the ascendancy of the Brahmins,
the Nata-sutras were relegated to the Suadras, and
classical Sanskrit took no notice of these siitras for centu-
ries. In the meanwhile, the discipline was confined to
prose compositions, royal writs, business letters, documents
Conclusion.
PREFACE. ccexxxvVll
and to controversial literature (the Tarka-sastra, Katha-
Sastra or Vada-sastra).
The earliest treatises on rhetoric were confined to
cosa, guna and alankara, i.e., defects. excellences, and
figures of speech. These treatises mentioned dramas
but never treated of them. But when-great Brahmins,
educated Ksatriyas and even emperors began to write
dramas, their claim could no longer be overlooked.
The two ideals of discipline were blended together and
the blending produced the theory of dhvani which includ-
ed the ideal excellence of a drama, viz., rasa, and the
ideal excellence of rhetoric. The word dhvani is often
translated in English as suggestion. But dhvyani in-
cludes much more. When a bell or gong is struck, it
produces a great sound, but oradually the sound dies
out in space and time. This is what is called dhvani,
dhvanana, vyaiijana, anu-ranana, etc., z.e., the sound
reverberates. Transferring this 1dea to mental and moral
world apart from time and space, it produces many
changes—some rapid and others gradual. The rapid is
called ‘rasa’ and the gradual, ‘dhvani,’ though they are
in reality one and the same. This is the highest idea
to which Indian rhetoricians and poeticians reached.
This is certainly different from the mere discipline of
the rhetoricians.
At this period, the epic and other poems also
attracted the attention of critics. They took cognisance
of poetry which appeals to the eye (drama, etc.) and of
poetry which appeals to the ear; and the critics began
to define poetry in a variety of ways—each succeeding
definition being an improvement on the last. Old rhe-
toricians defined poems as sabda and artha; some as
“Sabdarthau sahitau.” From this ‘sahita’ comes sahitya
Py
1
¢
aon
eCCCXXXVIILl PREFACE.
which means all sorts of literature. But when dhvani
was declared to be the soul of poetry, Sabcla, or Sabda
and artha did not ‘suffice in the definition. So Visva-
natha in the 14th century defined it as ‘vakya’ or
sentence, the soul of which is rasa. ‘This bold innovation
produced hostile criticisms. But all the same, every
one had to admit the force of vakya, directly or indi-
rectly, and of rasa.
The rapid development of dhvani is ‘rasa,? and rasa
hitherto meant the dramatic rasas niumbering 8 or 9 of
which love was the chief; and some of the critics
gave so much prominence to love that it became diff-
cult to distinguish poetics from erotics. At this period,
most of the works on poetics began to be named with
the word Srngara, eg., Srngara-prakasa, Srneara- -tilaka,
Srngara-mafijari and soon. But a reaction came and Visva-
natha’s grandfather Narayana declared, “Rase sara-_
camatkarah,’’ 2.e., Wonder is the essence of rasa; and he
as a corollary declared, ‘‘Sarvatrapy adbhuto-rasah, Be.
Wonder is the rasa everywhere. This was still the prevail- _
ing literary criticism in India, when one great writer, Jagan-
natha Pandita-raja recoiled at it and declared that words are —
kavya. But he gave an adjective to those words, viz.,
‘‘Ramaniyartha-pratipadaka’’ which resulted in the dic-
tum—‘ Camat-krti-mat kavyam,’ 7.e., Wonderful words
are kavya, and he is the last original writer of literary —
criticism in India.
On the top of this, may be considered the dicta of —
the 12th-century critics that aucitya and saubhagya are
the highest aim in poetry. Aucitya means harmony in
the poem itself and saubhagya, harmony with the sur-
roundings. Thus the aim of poetry is harmony all round;
and anything jarring against harmony is the greatest
defect in poetry.
PREFACE. eee IX
4
A
‘a
ACKNOWLEDGMENTS.
‘
This long Preface has come to an end and it is now
my pleasant duty to acknowledge the encouragement,
advice, help, and assistance which I have received from
various quarters. My principal acknowledgment 1s due
to Mr. Johan van Manen, Secretary to the Asiatic
Society, Bengal, for his constant, careful and untirmg aid
in giving to the Catalogue a presentable shape. He has
suggested improvements in a variety of ways to make
the work useful, instructive, and easy of reference. My
acknowledgments are further due to Dr. Upendra Nath
Brahmachari, the late, and Lt.-Col. R. B. 5. Seymour
Sewell, the present, President of the Society, who showed
great anxiety to enable me to finish the entire work
within my life-time, which is drawing rapidly to a close.
My acknowledgements are also ‘due to my old assistants
Pundit Asu-tosa Tarka-tirtha, who is no more, and Babu
Nani-gopal Banerji, who has left the service of the
Society and is now flourishing in the Dacca University,
for the way in which they wrote out the descriptions
of the Manuscripts under my direction for nearly 10
years, from 1911 to 1920. My acknowledgment 1s also
due to Pundit Aghora Natha Bhattacaryya for check-
ing the descriptions of the Manuscripts in the proot of ,
the Catalogue. |
HARAPRASAD SHASTRI.
26, PATALDANGA STREET,
Calcutia, the 13th August, 1930.
——— a
DESCRIPTIVE CATALOGUE OF SANSKRIT
MANUSCRIPTS.
ASIATIC SOCIETY OF BENGAL.
VoLtumeE VI.
(A) VYAKARANA.
I. PANINI..
ASTADHYAYIL.
4-213,
Bou. ASH ACHT MAT | Nandikesvara-kasvka.
Wath wts commentary arfuataataataat |
Substance, country paper. 13x4}inches. Folia, 6. Lines, 9, 10 on
apage. Hxtent in Slokas, 200. Character, Nagara. Complete.
Complete in six leaves. Never described properly.
Lt begins :—
stata aetfaat fanaa
SAA ACLTALIA TAS SA ATUBATE |
wena arafefasa cafenat faery |
See Aufrecht Cat., Cat., p. 276. | ~
2 )
4Y1ISA.
aria or Afeearacnr fant
Kasika or Nandikesvara-kastka.
By Nandtkesvara, with a commentary by U pamanyu.
Substance, country-made paper. 10343} inches. Folia, 9.
7 ona page. Extent in Slokas, 130. Character, modern Nagara.
ance, fresh. Complete.
Lines,
Appear:
The text consists of 26 Slokas, giving a mystical inter _
pretation to the fourteen Siva-stiittras—the alphabet as
given in the beginning of Sidhanta-kaumudi.
Beginning :—
staat Yea az: |
Commentary :—
va: falas Zale Haas qos |
qeaataaaragi [aat) aafae ANT |e |
qe fad garg taaaratamiaea !
vag afenmiety TIAA USAT: | |
aitiaTiieaay aeawaAat zara |
sata fai aati aurea | 3 |
ze Gq anatase yatpqe: TAR-A ASA TA TAT
| calGsh afar w_vasta-araqaie-atareieta SSURat wsAafaae
yisa qeuweagquiew acq a (a) wae attsacat azarae fara
AMma ard qe WEAR wutenfa ATT Sa BATT arate
teat atatdlfa afeaax utwua wsaa weft ufaarfeqrete
qamigueg fasta aa asa |
ee Zalaala ASTIALTAt
AAU SHl AAUAIILS |
SHURA! eanttefagta
watean fIaaaaTAA |e I
w|
Comm., aefafa u:, ete., etc., ete.
it, & HRT FAST: atfaya: WaT |
Raat: aaresra ANAT SAE! |
ive 3. Az ila ae int chee |
aes Baquries urfwansteass | 3
TL. 26, avarata: ae: atapt aarqae [faqe]
ASAAT Ut wa war fefamarfaries T
Comm., aatqoefaqe: at araatat ea wifata tar-
fmegrsia aaut atrstarat amqufena farted nae:
ewe faa wifefa waar feafateta faaqa |
Colophon :—
Reteest aeaquarfatareataa taal
ee |
See Burnell 41A where the number of the Karikas is
fiven as27. W. 1627 contains Upamanyu’s commentary.
4214,
2197. uTiafaaaura: | Panini-sittra-pathah.
Substance, country-made paper. 9x4 inches. Folia, 52. Lines, 11
Onapage. Character, Nagara. Appearance, discoloured. Complete.
Colophon :—
xa (Slava was: ute |
xfa @aula: ear: |
Post Colophon :—
ata QAUTSs: Vara: |
qISHt Hi faatoaaa aa fafeafae vane |
4OI4A.,
9879. The Sane.
Substance, country-made paper. 11x65 inches. Folia, 28. Lines, 8
onapage. EHxtent in Slokas, 336. Character, Nagara. Appearance, fresh.
A fragment.
Care}
4Y14B.
11104. The Same.
Substance, country-made paper. 10443 inches. Folia, 30. Lines?
ona page. Character, modern Nagara. Appearance, fresh.
From the beginning to the beginning of the fourth
pada of the fifth adhyaya. 4
A215.
3195. The Same.
Substance, country-made paper. 10x44 inches. Folia, 2 to 86 and
—
four leaves unmarked, which are a restoration and which complete the
work. Lines, 6 to 8 on a page. Character, Nagara of the eighteentl |
century. Appearance, discoloured. |
Colophon :—
SACAMIAG BLA: Ule...... SASiyTat Baga: |
APQIB5A.
, 4180. The Same. »
Substance, country-made paper. 94x4 inches. Folia, 5 to 15. Lines.
9 on a page. Character, Nagara of the eighteenth century,
ance, discoloured.
From the beginning of the third pada of the first |
chapter to the end of the second chapter.
|
“
Appeat |
| 42155.
4180F. The Same.
Substance, country-made paper. 9}x4 inches. Folia, 20 to 92
of which 34 to 37, 56, 58, 65, 68, 86 are missing. Lines, 6 on a page:
Character, Nagara of the eighteenth century. Appearance, discoloured:
-
<
¥
Incomplete.
Containing 3/3/20 to the end of the sixth adhyaya only.
4215C.
4180G. The Same.
Substance, country-made paper. 9x4 inches. Folia, 12. Lines, !
on a page. Character, Nagara of the eighteenth century. Appearances
discoloured. '
From the beginning to 2/4/21.
A216.
1764. aTRARUTS: or Baa PAAA |
Varttika-pathah or Sittra-varttickam.
by Katyayana.
Substance, country-made paper. 94x44) inches. Folia, 47. Lines,
10, 11 on a page. Extent in Slokas, 920. Character, Nagara. Appear-
ance, tolerable. Complete.
Colophon :—
tfa aTataaaat aaah wea: | eared atfia-
Wey? |
For a description ot the work see Ler. p. 113, No.
673 (7).
On a Comparison with the Varttika-patha as printed
in the appendix of the Siddhanta Kaumudi at Bombay in
the Saka year 1815, the present work appears to be a
shorter recension of the Varttika-patha as given there.
It begins thus in the printed text :—
VATSTRSAUg |
. fas waaay; 2 awa) 38 aadtisiuga wesatt
Tie waist) 8 weeugH xfa Bara weavata: €
AAT: waa | 8 wa Bare) < at wa xfa Baer
we | ¢ at fava) co uath saretea) (wt Wea
watt saeaeqge FMT | UR-EA BALM wHisqITA | AR
get ufautat | 18 Wee St | wy ATs afat| ¢¢ ota<as
afsat'| (so waa atacmy) es ThaqHaray VatMT | te
SATURUMTGS | Ro RSG 2 KTqgIafa BWeerargera-
aftagqaifeanclayata ayer: | RR aTRMUaMTG fasq! RR
meen fasfafe Bq dzartat wir) Re fagraty
yaa: |
Besa (ye) |
to )
| The present manuscript begins thus :—
ee mam aa) fora aa: |
eS fag wea wadtssoga WUT ma ws faaa
aaa Wet tT Hoes a Wasa shraa xf fase.
as arash vat aa) o« Serttaraet: a=arfa wer teas =
SPHAHAITIA AAANHLMTy aMpATqueSu: | Wireayatanaat cattt
au fiat sfaaaaa: | ween) sarfe |
The printed text ends :—
BI 8S FH Wl weRO MST waMTMAaATET freq: wal
eRe ATA TIT BSWTA yMAL a) were see gat |
etastaes: | woke HA Way waMaEMA | wos fadd
au frenig | YoRR waite fre ga Situqtat waa: arf: fasa t
EACATSAIA! |
The present manuscript ends :—
Jy UAV ASI uNaa: utfmsR: faatata |
4217.
4405. QldawtAelTHTaa | Patatjala-maha-bhasyam. )
Substance, country-made paper. 1345 inches. Folia, 131. Lines, —
9 on a page. Character, Nagara. Date, Samvat 1899. Appearance, —
fresh. Incomplete. To the end of the first pada of the first adhyaya.
Colophon :—
afa arses wiatafechas aacmaee
Wie TIATYITE TIA we aqaatfeana |
Post Colophon :—
Stain a aviv featuqenra yea |
Tal MAAS CaTHat wef F |
stomttanatiza Haq wee |
=. 4218.
iy 9144. The Same.
Substance, country-made paper. 124 inches. Folia, 102. Lines,
Il ona page. Extent in Slokas, 5,000. Character, Nagara. Appearance,
old and legibly written.
The third pada only.
Colophon :—
afa Slaenay edtaergee we we yaa
atte | i @atargra: ware |
VATA FEAL Ta:
’ 4219:
4571. The Same.
With Katyata’s Bhasya-pradipa.
A complete copy of a lithographed edition of Patatijala-maha-bhasya
with Kaiyata’s Bhasya-pradipa. 10}x7 inches. Published at the Vidyo-
daya Press, Benares.
The first two chapters are complete in 413 leaves ;
IIT in 114; IV in 92; Vin 81: VIin 106; VII in 137;
and VIII in 73.
Kept in three bundles.
42.20.
7890. The Same.
With Katyata’s Pradipa in Tri-patha form.
Substance, country-made paper. 13x63 inches. Folia, 16. Charac-
ter, modern Nagara. Appearance, fresh.
A fragment containing I, 1. 1, only.
4221.
3297. WeTATaM St: [ee aha-bhasya-pradipah.
A commentary on the Maha-bhasya, by Kacyata.
Substance, country-made paper. 12 «53 inches. Folia, 48. Lines,
9, 10 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, discoloured.
The first three ahnikas and the beginning of the
fourth of the first pada of the first chapter. |
4.22:2..
7752. ASTATa-Welqiefa: |
Maha-bhasya with Pradipa and U ddyota.
A fi
Substance, country-made paper. 1025 ji _ on ee "7
; y-me pay J4* 0 Inches. Folia, 28, of which —
foll. 16, 19-21 are missing. Character, modern Jaina Nagara Appear :
ance, fresh. “ ie
The second ahnika of the first pada of the first
adhya
only. gAo
The Pradipa is written above and below the Bhasya —
and Uddyota on the margins.
28B, ata Btagaaq vdafatsctaa TRCN S ITay Strat f
way yee ue fadivzarien aaa | |
ata SURPASS _-HACHA Aelaragety Waa gq
ule factuatfend |
afa aretrtHafanged—aainasatshagARa apeqaet
tend waHUIyaE sss wie fedivarfeana |
Two leaves of the same MS. belonging to the first
ahnika, marked 18, 19, are also here. and one Stray leaf of .
the same work.
,
p
-
Substance, etc., the same as above. Folia, 5. Lines, 13 on a page.
Character, modern Jaina Nagara of the eighteenth century. Appearance,
mouse-eaten.
The beginning of the Maha-bhasya.
4% +) 23.
469. BTA Ste ov pee |
Bhasya-pradipodyota or Patanjala-bhasya-pradipa-
V~VATANEM.
By Nagoji Bhatta.
Short leaves numbering 158 without the text, con-
taining a little less than the first pada. The other
portions have the text of Kaiyata’s Pradipa. The second
portion ends qwaAargay cataure feaiazatfea wes ATHAATT! |
The third portion ends yaH@q fart[ajore eataartes | ice
aaa: | The fourth portion yaaw wzaelwe] wayatfen Wes
aata: | Pada II is complete in 89. Pada III is complete
in 68. Pada IV is complete in 112. atfeatft as: aaq
moae) ae ezy + + |
A good deal of Uddyota has been printed in the
Bibliotheca Indica.
42Z3A. |
“ ge po ave . _
8503. QTMTS Nsw att | Vyakhyadarsa-tippanr.
By Kamalakara Bhatta (Golonga).
Substance, country-made paper. 11x65 inches. Folia, 7. Lines, 17
ona page. Extent in Slokas, 270. Character, Nagara of the eighteenth
century. Appearance, discoloured.
Comments on fourteen sittras, commonly known as
Siva-sittras and dealt with in the second ahnika of
Maha-bhasya, elucidating difficult points in Maha-bhasya,
Pradipa and Uddyota.
(HO)
| Beginning :—
aesa fama afafen aifaeeufate | =a |
Tas ae wreataaaa: | SSA ware zat |
MeAaaT eyisiifa aay Kaas Hea wefate aw |
Hind :— |
faaxa Saaaaafata yalelteattatcaireanga-
ATAU AAS: |
Colophon :—
zfa attagtns aaa RCA RAaTEey feu
factaaitea wars |
4224.
~ ™
642. WTA TA: | Sabda-kaustubhah,
By Bhattoji Diksita.
For the manuscript see L. 14.64.
Aufrecht is wrong in thinking that Sabd
is a commentary only on the first pada of the first
chapter of Panini’s stttras. The present man script con-
tains among others the following colophon :—
124A, eta stuzataasatmgtararcurstay qaqa waa
ugifacitads ae weatat watargae aqe we wees |
The MS. contains the commentary on the second and
the third chapters of Panini and from IV, 1. 25 to the
end of the fourth chapter. It also contains 13 leaves
giving the commentary on 3. 2. 1-14 sattras; 3 |eaves
containing 3. 2. L1J—131, and 3 leaves containing gittras
III, 2. 151-177, and 44 leaves from the beginning of the
second adhyaya to the end of the second pada of the third
adhyaya.
In the course of being printed in the Chaukhamba
series.
a-kaustubha _
( 4 4
42244,
642A. The Same.
Substance, country-made paper. 9x4 inches. Folia, 44, of which
the 40th to 42nd are missing and the 20th double. Lines, 13 ona page.
Character, Niagara. Date, Samvat 1689. Appearance, old,
The MS. contains the third adhyaya up to the end
of the third ahnika of the second pada.
4225.
8865. The Same.
Substance, country-made paper. 11} x53 inches. Folia, 54. Lines,
10, ll on a page. Character, Niagara of the eighteenth century. Appear-
ance, discoloured. Incomplete at the end.
On the obverse of the first leaf :-—
Sua eI qa 1
4226.
1048]. The Same.
Substance, country-made paper. 13X65 inches. Folia (marked in
the middle of the right-hand side) 1-43, (then marked on the upper corner
of the right-hand side) 1-20. Lines, 11 on a page. Character, Nagara
of the nineteenth century. Appearance, fresh.
Abnikas III and IV only of the first adhyaya.
Ahnika ILI begins :—
HRS AA Aafae |
lt ends :—
dqateauaty fatueqefaamutteta fa |
Colophon :— :
43B, afe wea? quam saa uz eata-
aiteaa | |
IV begins :—
7 UIA Asus |
It ends :—
waad qT ByUTAtS fazarquaTat arawuafaea
qretia Baya rEatTg aHAAAT AT |
eis }
Leaf 20 Colophon :—
ft meeattet saaargm@e ah ue agente
THI) Bt es
: 4.227.
é 10940. The Same.
Substance, country-made paper.
Lines, 12 on a page. Character
the end of the first pada of the fir
12«5 inches. Folia, 112+ 64.
» modern Nagara. Appearance, fresh tO
St adhydya.
There are two sets of le
between them.
saves, but there is no gap
Last Colophon :—
afa aasaqet aT WALA: Dayar agit
ad wrecatert TTA Gee ye aaatfean |
qe ala AAA |
4
4228. i
N PY,
2906. WAT, (TSR) | ;
Prabha, a commentary on Sabda-Ira ustubha.
Substance, country-made paper. 1245 inches. Folia, 63. Lines —
12 on a page. Extent in Slokas, 2,300. Character, Nagara of the nine- 1
teenth century. Appearance, discoloured. A iragment.
| ‘The Colophon :— | bs.
«fa sitwere aga Farmrsm radar Fea ra ae
faa-ataUaeayrai DASqrat TaRatSRe |
For the work see I.0. Catal. No. 607.
4229,
871. FITACWAAPARMAAAT |
Vayakarana-matonmajjana-tika.
For the manuscript see L. 1789.
( 13)
, Bhattoji Diksita wrote the Sabda-kaustubha. a com-
n y , shha
entary on the Mahabhasya in the preamble of which
he says :—
“ ufoaifaautena: weeategSt ”
After the completion of that work he wrote 71 karikas
commencing With c—
“ afmaifkaurea: Weta Sea |
+. a © SPS , =
qs fata war: aowuaie Hwa |
The present manuscript contains the first 35 karikas
together with a commentary by Vanamali who speaks of
Bhattoji Diksita as his 2uru :—
ean Cc ~
ama: faatt aat uraqatyeeraat |
~o ~ ~ . =
qeftya Hat: vatatetat aart faaara |
This guru is no other than Bhattoji Diksita; because
Kaunda Bhatta in his Vaiyakarana-bhisana-sara (Benares.
Edition) says :—
aoe
ugiaeifaad: seta fear afar: Bat: |
alwys area atfearat: afaare |
These karikas number 71 of which the first 35 have
been explained by Vanamali in this incomplete manu-
script.
The commentary of these 35 karikas is divided into
seven ullasas, and called both Vrttyullasa and Vaiya-
karana-matonmajjana.
The colophon of the fourth ullasa in leaf 138A con-
tains the commentator’s name :—
zfs stiaaarfafachearat Faracwaatasactatat utfaute-
ATTA: |
Aufrecht says that this is a commentary on Brhad-
Vaiyakarana-siddhanta-bhisana by Kaunda Bhatta. He
is apparently misled by a statement in N.P., VII, 68: «A
) | (pote )
commentary on Bhisana by Vanamali Misra, one of the of
pupils of the author of the text.”
4230.
3797. TALRATS TA: | Fakkika-vrttih.
By Sanatana Tarkacarya.
Substances country-made paper. 163} Lines,
7 on a page. Extent in Slokas, 1,300. Character. Bengali of the fifteenth
century. Appearance, old, faded and discoloured.
inches. Folia, 46.
Complete.
Colophon :—
Saal aa-aataamnat utara: SATRT |
Beginning :—
AAT WMI |
cama ae trattafgatagea |
eatian frac acat RAL AH |
wltigtaaarat (?) atates-wcatars: |
aga wtaataat aan rarey Aaa | |
aT Wega | se Wee! omal safe fe afer ade
aq tH wealgaret was aad Ata oe wea gq WauhaE aq 44
++ sist frat | re wa weerqwred weerraraerres Weg
yuaatata wetaare |
This evidently relates to the Patanjala Bhasya and
goes over nearly all the padas of the Astadhyayi, omitting
only the second pada of the sixth adhyaya on Vedic
Svara. The padas are designated by some prominent
word in their initial stttras.
[t ends :— . ' |
(H VAT SUT WUT yeaeMATS ayeaT
We wae TTI zaragea faSageraasy faury
+ + a fanaa aamfaneea saa Saya, Ar |
( S55
wet aaegfaa at, Tar waywapya: |
aay: WaUTaHT AAT, WaYAS PT: |
++-++ emafae vafa |
4231.
9735. a@riMar |) Kasika.
Being a commentary on the A stadhyay?.
By Jayaditya and Vamana.
Substance, country-made paper. 11x Oo inche Foha, 80. Lines, 7
s.
ona page. Iuxtent in Slokas, 1,280. Character, Nagara. Appearance,
old. Incomplete.
To the end of the second chapter.
The work seems to have been left unfinished by
Jayaditya and finished by Vamana.
See G. Biihler, Report on a Tour in Kasmir, ete..,
p- 72, and I.O. Catal. 591, 592.
Bithler says ‘“‘In the Colophons of the first four
adhyayas, Jayapida is named as the author and in those
of the rest, Vamana.”’
42:32.
4734. The Same.
Substance, palm leaf. 142 inches. Folia, 60 of which the following
leaves are missing: 1, 9, 26, 44, 51 and 52. Lines, 5ona page. Charac-
ter, Bengali of the seventeenth century. Appearance, good.
DCI Om
XQ 19st eeafa wgefa fast asa qa wafa |
aifeueiay sawmat a uafai ta watal ate:
Waa |
(wa: wfaga )
aro |)
ufaant: | ; |
ws ae, afa aifsarat Tut fedtiawaraiaw ywAae:
SATH |
29 us, feat tfae feata: ute: |
4233. :
3816. The Same. ;
Substance, country-made paper. 15434 inches. Folia, 23. Lines
7 on a page. Extent in Slokas, 656. Character, Bengali of the fifteenth
century. Appearance, old and discoloured.
The MS. contains the third pad
a of the seventh ,
adhyaya. |
Colophon :—
1,
sfa afar aut BHATT adta: Ue! @ATH |
A234,
4743. TVhe Same. §
Substance, palm leaf. 1542 inches. Folia, 1 to 29, of en ia
following leaves are missing: 3, 4, 7, 20, 22 and 23. Lines, 5 on a page
Character, Bengali of the fifteenth century. Appearance, old and “OTT
gaten. \
grata | 6 fats: | SraEITa aa: |
wat = VIHA | Tata ata a Safa a qeaafa 4
caq aantaad Afeaa ea Sue ae qzyra: uty aya
rfaawaant: wae = uaa sad ae Sfeaall
qate |.
SAAT |
@Bo | Bus aegtiadaesy i...
=
see®seeeeveet®
sqawa fRatatad || Here ends the MS.
.
4.235.
8862. The Same.
Substance, country-made paper. 10x4inches. Folia, 47+54. Lines,
ll, 13 0ona page. Character, Niagara of the eighteenth century. Appear-
ance, old and discoloured.
Second and fifth chapters; the second complete in
47 leaves, and the fifth in 54 leaves.
Post Colophon :—
ize aaa Wa afe y aaaat Auas |
42.36.
4128. altmatfaqqmafsayr or FITe: |
Kasika-vivarana-panjika or Nydsah.
By Jinendra-buddhv.
Substance, country-made paper. 124 x2} (VII, 3); 12 x 23 (VIT, 4).
Folia, 65 (VII, 3)+(VII, 4) 45. Lines, 5, 6, 7 on a page. Character,
Bengali of the eighteenth century. Appearance, discoloured.
The MS. contains VII, 3 and VII, 4 of Jinendra-
buddhi’s Kasika-vivarana-panjika.
Colophons :—
sfa atfwaraqt yarn fasafeatefactaarat
alfanifaacanfgarat anArgrae cataate: | SATHT
Ga |
Post Colophon :-—
stfranmta ea: Te |
sf aifvawtwtigmrssntaatsgtentcfactaatat atfattaa-
LUufHAat AAAS UTS: ATH: |
Post Colophon :—
=itframazamaat (?) Fa Ufeat @rargy | Bent
(ets )
The entire work is in the course of being edited by
Babu Srisccandra Cakravartti, B.A., Dacca.
42.37.
4027. The Same.
Substance, country-made paper. 193% inches. Folia, 91. Lines,
5o0napage. Character, Bengali of the eighteenth cen tury. Appearance,
old and discoloured. Two fragments—one, marked 1 to 32 containing the
sub-comment. to the fourth pada of the eighth adhyaya, the other marked _
33 to 91 containing the sub-commentaries on 7. 2.1 to 7. 2. 103.
The Colophon of the eighth adhyaya runs thus :—
ata at trearaeyptararesyaptte Ta feurefactearat
ata faqcu Sara react sera: |
Post Colophon Statement :—
yur Ura Sat =toara fawn |
Gea fafeage taraaqra yaaa: |
4238.
3196. ATHAAS: | Nyasa-samgrahah.
By Ganga-datta.
Substance, country-made paper. 93x42 inches. Folia, 13.
8 on a page. Character, Nagara of the eighteenth cen
fresh. Incomplete at the end.
Lines, 7, +
tury. Appearance,
It begins :—
SluPAcsITe aa: |
_waqatetaal aart va fatetaartaaraq |
uifwarfegntsa Aa TRA Yt |
SATA USA Ptaat |
taqarquata fad waaay: |) 2 |
or SOLER itel eat”? ars eatarart erfafa
ta fre aaa yarentsamg | arqacenfeaner zac
ectaeuntata qaaq cataua fa at carte |
a
Ys
r 19 4
It seems to be based on KASika-vrtti-nyasa of Jinendra-
buddhi.
AZ3BA,
3819. arate: | Tantra-pradipah.
By Maittireya Raksita.
Substance, country-made paper. 153) inches. Folia, 19. Lines,
6 on a page. Extent in Slokas, 400. Character, Bengali. Date, Saka
1661. Appearance, old, discoloured and dilapidated. Complete.
Colophon :-—
sfa aeradtaena wasacfaaadl aanett aaa -
Ule! BATH? |
Post Colophon :—
AVA WHET CEE |
qaifeutatay efoat afad Ta |
‘Edited by Babu 8. C. Cakravarti.
4239.
264. TaaTel(Chtsae | Ra-pratyahara-mandanam.
Substance, country-made paper. 84x4} inches. Folia, 8. Lines, l2
on a page. Extent in Slokas, 190. Character, Nagara. Appearance,
tolerable. Complete.
It is an argumentative exposition of the Pamini-pra-
tyahara-sttra “am”. It supports tyaTeTe on the line of
Patafijali and Kasika-ixara.
It quotes (1) Kaiyata, (2) Madhava, (3) Hara-datta
and Bhattoji Diksita.
It begins :—
SAMA AA: |
afgza atfenacaare sttuaata |
qa afefaarard CUaTeeAwM |
a) Ha aaHteisqatan: ufaarrd | cats |
(G20. )
lt ends :—
SA, ay agrifaad wead saw eaTEtsy ATE
SALUTS: WHE | Bqarfan sats: utara Ga Su
wu” gaa tau cwarenge wats <q wea
TMAH LU AMay ata weedaty fq) waa
THAT LUISA KU Fa wR wut afa yaaa |
zit quay aandifa warafa SAV ateya eta
Swat Baw: Wee ig: Wie TT yrenfeaaay-
Gt grwagHans a WewaRaT ayaa
sTalgatata aq Gt yest: sfa A Tea aT Ta frgmat
tna wetetaate: |
Colophon :—
afd ¢ yeneresa |
Post Colophon :—
Wad (e(7)€ Sars | y aatraTaA |
4240,
1722. The Same.
Substance, country-made paper. 13452 inches. Folia, 4. Lines,
14,15 ona page. Character, N agara. Appearance, tolerable. Complete.
See above.
Here the author’s name is given as Pathaka Rama-
candra. His father’s name was Pathaka Murari and his
younger brother was Pathaka Taksmana.
Colophon :—
zfa AAA WS RAC LAA- US HAM AA-wisR AE:
faafad wwaTetaaed SaTHE |
Then afta zat aatacuaa, etc., etc.
( 21
4241,
873. TAQARTAT | Gaja-suttra-vyakhya.
By Siva-ramendra Yat.
For the manuscript see L. 1792.
tical, the 67th sittra of the third section of Panini’s
first book is called here Gaja-sittra.
The present exposition of the stittra aims at the
refutation of Vrtti-krt and others, and follows mainly the
Bhasya commentary of Phani.
Rajendralala reads the chronogram as wR Faraat-
Atel scaatTaMe but the manuscript has in reality WAR
WAATAaTae .
4242,
1025. The Same.
Substance, country-made paper. 9x 3% inches. Folia, 36. Lines, 7,
8onapage. Character, Nagara. Appearance, tolerable. Complete.
A commentary on Panini |. 3. 67.
Another copy of above.
A243.
8450. faateataet | Vevada-haumudi.
By Lalamant.
Substance, country-made paper. 94x44 inches, Folia, 12. ‘Lines, 10
on @ page. Extent in Slokas, 400. Character, Nagara of the eighteenth
century. Appearance, discoloured. Complete.
Colophon :— ,
afa Slangrareaewia-aisrata-atfadtaraaaa UTE
aifaurfetraciatasa-faurfedertaa_—Ruitearaa fanart
faateatget wyfiamag | awa
( 22 )
Mangalacarana and the object of the work :—
SWUOW AA: |
aa tAtATATT ATU
met afaataata aac |
wattage aatactar
adie daa ufeesaae |
afa-wtutd-ataaeattaaataatts fate alga)
casita faareatget aq mfaeearaytae: |
afte Badine eta: wratfa uxa:, ete,
Hind :—
FIAAAT Sat Pafasteatteay |
HAUCARLMt Vifaar arzatyey |
az Ait ay afatsagqat aa fara
famreaty any aaatem ha waa |
adisaen eta faxatufaaa: afaue:
wat zyatetat wata ate Sara afuara "
AQY44,
9030. afcaesata: | Gatrika-stiltra-vrttth.
A commentary on the Garrika-suttra with the text.
Substance, country-paper. 10x4} inches. Folia, 1. Lines, 19 on
this work. Extent in Slokas, 20. Character, Nagara. Fresh. Complete
One leaf only.
sfa metq ate sate 4 | Bea erage
Vgaraaaad fe vatngad 5
The Colophon :—
sfa leaguaaaagIAtet dfeaeaalft
aaitAarAd |i .
(¢ 88 4
4245.
590. ATATSRAU | Bhasa-vritih.
Ly Purusotiama.
Suttras of Panini, compiled at the instance of Laks-
mana Sena, leaving out the Vedic stttras.
Without beginning, without end. Separate pagi-
nations.
One of the colophons is given, which occurs on the
obverse of the first leaf marked 1.
ata aaah ea-A STA Sa RN VASA wrTaTeat
fedtangrae @ata: ute: |
Post Colophon :—
WU WTA JaTTyay
SCueuy Wal Wal |
We are wlageuay
feataaatsiataag |
quay afeqa aay
TAC SA aaa |
WIR UTS TANANFT
Taufaargara Aa | . |
On the reverse of that leaf commences the last section
of the second adhyaya which comes to an end in leaf II.
Then follows a new pagination from 1 to 19, containing
the first section of the fourth adhyaya.
4AYA4EG.
3807. Lhe Same.
: . . 1 S,
Substance, country-made paper. 15x38 inches. Folia, 83. aan
5 ona page. Extent in slokas, 1,300. Character, Bengali. Date, 9%
1654. Appearance, discoloured.
It contains the seventh and the eighth adhyayas.
-
———
en eee
G24. )
The Last Colophon :—
zfa Welaetreygasigadinatay uri wea
SaTa AAT |
Post Colophon :—
WATS eis Gerla ShitaaTs wm: @rare |
Sea: Waa |
ane ¢ aM ws TTA |
wa(O)\e ¢ Waite Tazerqeaar |
wianred fanaa aTaATgTaEM ata |
There are thirteen stray leaves along with the
Bhasaé-vrtti.
A247.
3806. The Same.
Substance, country-made paper. 15 34 inches. Folia, 15. Lines
4onapage. Extent in Slokas, 250. Character, Be ngali of the ej hteenttl
century. Appearance, discoloured and worn out.
A tragment, containing VI. 1. 1 to VT. ] 155 of
Panini.
Colophon :—
ata Stuxataatagq aera TAIT Ue! |
Then a leaf more, marked 16, containing some sittras
from VI. 3. 1.
A work of grammar taught in the Rajsahi district in
Bengal.
AAAS.
4129. The Same.
Substance, country-made paper. 134 x 23 inches, Folia, 109. Lines,
5 on a page. Character, Bengali of the eighteenth century. Appearance
discoloured. Incomplete at the end.
Colophons :—
17B, fa staedtuatae aratest satume:; 304A,
otmure:; 45B, ¢ gyq ure:: S5A, o wqutwra: warm: TOA,
oumArgrTa Gea: ute:; SSA, ¢ ur ure:; 96B, wat
eata: UTS:
The work breaks abruptly in the 109th leaf.
There is one more leaf containing the following
colophon :—
afa sequester feurifwaaate JARS VAHG |
Beginning :—
SIaIaHla WLATATA, etc., etc. Effaced.
4249,
3813. The Same.
Four batches of palm-leaves measuring 17}x2 inches. Character,
Bengali of the seventeenth century. In a fair state of preservation,
A.
Contains in 1 to 66 leaves the fifth adhyaya of Panini.
The first leaf is badly damaged and very nearly illegible.
Post Colophon :—
ANAT WHR wee | StaalaeraascswM: WTSTe-
fad was afoa ro stam weatfate |
B.
Contains, in leaves 18 to 42, V. 2. 28 to V. 3. 8.
C.
Contains 1 to 23 leaves, of which 9, 21, 22 are missing.
Suttras 6/1/2 to 6/3/4.
4.
( 26 )
D.
Contains, in leaves 34 to 65, the end of VI. 3 and the
whole of 6/4.
4250.
3198. The same with a commen tary called Panjika.
By V isva-rivpa.
It contains two batches of leaves. T has 11 leaves :
and IT, 63. .
1243 inches.
last two unmarked. Lines, 8, 9 on a& page.
racter, Bengali of the sixteenth century.
Substance, country-made paper. Polia, 1 to 11, the |
Isxtent in Slokas, 2g0. Chas
Appearance, very dilapidated,
ea eee It contains the beginning of the
ete frat uf acat Hear SAIN (Tee faa | |
wae aaefay fayette ufSait |
ate ataawata: af Start fete:
acta astaat 4 ataat fear |
| watate jataq aactanfes
aafa aatuaiet feteuteind qe |
ated a aquicatasae waufeay |
waIy Hwa |
fafaraa urfefgantiaattitaae AVAL =etaat aaa
WaT gata waqeae faa iaeananisteqad: |
jaunt acfwafea une a qf=| ag aifzateq| aati
fafauaeaatwafagaiqaictautta aie aa fades father
fateaqafane fat ada aera ta fane Fame ara t falas
faeaterfaaae | 4 BF H anata Kant aeexsnimaasena
WEVA Tae Fea hoTARAT qaqa ui] qeefun faa
14 | Uetataty gqaeatuneaa astafewas staquitaegifeersrat
rT,
\
?
Lae
“fh
{ 37}
faaeai faa Fas | Fa Vravat atfauesatat | cha: fa fafer
aa aafaufamt aafearteshaaia |
aufserger sfastaifeae ata —
atatiwa afaq afaq aaraate arf |
iL.
Substance, country-made paper. 15x 3inches. Folia, 63 by counting.
Without leaf marks. Lines, 7 to 9 on a page. Character, Bengali of the
sixteenth century. Appearance, dilapidated. Writing effaced in many
eaves. Without beginning and without end.
In the leaf VI of the second batch of leaves there
is the colophon :—
sfa fameufacfaatai aratafaufsarara 4 faafaat |
RECASTS.
4251.
oor f . " ry
1702. Ufararaet | Prakriya-kaumudi.
By Rama-candra.
Two different manuscripts, one containing the Suban-
ta-pada and the other Tifianta-paida with Krdanta and
Vaidika.
(1) Substance, country-made paper. 33X44 inches, Folia, 13
Lines, 8, 9, 10 on a page. “Character, Nagara. Appearance old ’
(2) 9x33 inches. Folia, 118. Lines, 9 on a page. Character,
Nagara. Date, Samvat 1664. Appearance, old. :
Post Colophon :—
aad 7e€8 ae Beet sarai ufmaratyet ag.
cad ga-ageaatafe st, AVA | BY wate |
frmnigequaqguatad ((¢é8) wre : a] Tae
qsuaan faat aaa eta wfametazay festa
ufaatatget aay |
See I.0. Catal. No. 613.
After the three verses quoted in 1.0. Catal. of the
preamble of this work, our manuscript has a fourth. It
runs :—
HATA AAA AUT HM HM AAAS THRUST
“oD ° ~
SUIGIMIAIAATaT Wethwiazarae |
WRT faa eA a Ta TATA TA
TTS WRU TRAC at ufHaratger |
Published in the Bombay Sanskrit ser jes.
42.52.
473. The Same.
Substance, country-made paper. 8%x4 inches. Folia, 89, of which
leaves 1, 4 to 6, 8, 38, 40, 43, 44, 56, 74, 76 to 78, 83 and S86 are missing.
Lines, 8,9 on a page. Character, Nagara. Appearance, old.
Fragmentary.
4253
e),
S764. The Same.
Substance, country-made paper. 103 x 48, 34 inches, Folia, 352.
Lines, 7, 8 on a page. Iixtent in Slokas, 2,700. Character, Nagara, Old.
Incomplete.
Folia 178 only. i
The Colophon of the first part :—
ata sla eantca marae AAA ITATATaL TY R-
wettest fexcfast ufsartqai
gaa AAA
Maiq s- = -+
B.
An incomplete copy from 60 to 141 up to the end of
Subanta.,
C.
An incomplete copy, with leaves 1-92, faaaufarat |
Beginning :—
pate: at sears sat wreatfeerat |
asa wesuiia yoeasataa |
Bat | MSA Iya SAR TAA ATATSAT: |
(e530! )
A254.
5756. Commentary on the same.
By Sri Krsna
(Tinanta section, only three fragments.)
Substance, country-made paper. 11x4 inches. Folia, 107+4)
(of which the 22nd and the 33rd leaves are missing) + 31. Lines, 8 tol) —
on apage. Character, Nagara. Appearance, old. Fragments.
J. Colophon in the first batch consisting of 107_
leaves :—
87B, va Aaa taamaata: (?)
Siar vat aateanA Bra wraye |
It comes up to the root Bhajij.
Il. It begins with Ad (ae) :—
98B, vwatawadtfrawaafa «
auad arattengtHat |
36A, watamwaatfaaaafin: o
| aaituaad satfeat ufman |
38B, vatamsaaifaamratin o
aaifqanad argqraat utHat |
weaiaaattaaaarafa: ©
aatfaanastattzat utara
49 5B,
III. Consisting of 31 leaves :—
4A, walammaatfaawaratan ©
SAAATA MATT RICHAT |
9B, vwearlauea, etc.
=
aattaamag Katteat ofwHat |
Curadi-gana is not complete.
42544.
11165.
Substance, country-made paper. Character, Nagara of the nineteenth
century.
A fragment of a commentary on contradictory points
in Panini, with its leaves marked 2-]] by the author of
Prakriya-pradipa, and pupil of Sesa-Viresvara.
4B, xf aatgmecae |
1B, xfa qaufeafe: |
Nee I.0., page 192d, Catal. No. 728.
There is also a leaf marked 1, containing two extracts
from some Purana.
Beginning :—
Go To |
HI ayawifa aaqraa a faa |
qa arate wa uvatea Shea: |
Colophon :—
eo Fo 8k sryTy |
IT.
Beginning :—
GA To |
AAA AVIA UHM J |
wMaMSwatat waa afreaat: |
Colophon :—
Geo Fo HITS 89S
( 32 )
42.55.
9177. fastararaet | Srddhanta-kaumudi.
Substance, country-made paper. 1136 inches. Folia, 343. Line _
(10 ona page. Extent in Slokas, 6,860. Character, Niagara. Date, Saka
1765. Appearance, fresh. Remarkably correct. Neatly written. Com-
plete.
All leaves have the marginal note. fao ato | a
The note of the scribe :— |
AT HAd Wh r.ey.!l BMlaeaa aaa Wis we ¢ 1
EmeaTae afi WAH || 32 URR UFTIL aaa areas ass
sprsaiaala AA! | | AleaTeaqa aa: | STARA MAe | | ;
A236,
7734. The Same.
tL :
Substance, country-made paper. 1035 inches. Folia, 26-144 (from
the declension of yuq to the end of Samasa) + 1-90 (containing the Tad-
dhita chapter)+1-69 (from the beginning of Tyadyanta to the end of
Divadi) + 1-70 (from Svadi to the end of Tifianta) + 1~90 (IXrdanta). Lines,
9onapage. Character, modern Nagara. Appearance, fresh. -
ee
Substance, country-made paper. 10x 4+ inches. Folia, 80. Lines, 10
on a page. Character, Nagara of the nineteenth century. Appearance,
fresh.
From the beginning to Samasa.
ITI.
Substance, country-made paper. 10443 inches. Folia, 6. Lines
27 on a page. Character, Nagara of the nineteenth century. Appearances
soiled.
Contains Vaidiki-prakriya. .
493.57,
4427. The Same.
( TeaTSaraa ) |
Substance, country-made paper. 10x45 inches. Folia, 169. Lines,
l4 on a page. Character, Niagara of the eighteenth century. Appear-
ance, discoloured. Complete.
Post Colophon :—
aun fafa june af fast . wad weather.
AWM AA | Wheat war, ete.
4.258.
$513. The Same.
( SAUTSATAR )
Substance, country-made paper. 12x65 inches. Folia, 24. Lines, 7
on a page. Character, Nagara of the nineteenth century. Appearance,
fresh.
A mere fragment containing a portion of tifanta
only.
A259.
4.560. | The Same. -
Substance, country-made paper. 103x5 inches. Folia, 195: Tifanta
pada is complete in 93 leaves, Krtpada in 80 leaves and Vaidika-prakriya
in 22. Three in three different hands. Lines, 9 to 11 on a page.
Character, Nagara. Appearance, oldish. |
Post Colophon Statement to the Tinanta-pada :—
waq yore aH sqm afe Teafaqat fafa
aaa TaArIsRat Wy BATA || Ai TVG |
\
(roe)
4260-61.
9604. The Same.
Substance, country-made‘paper. 174x5}inches. Folia, 202. Lines,
70napage. Extent in slokas, 2,425. Character. Nagara. Date, Samvat
1891. Appearance, old. Incomplete. |
From the beginning to the end of Samasa.
4262.
8915. The Same.
Substance, country-made paper. 17 x5} inches. Incomplete. From
the beginning to leaf 107. The last eight leaves are a restoration in a
slovenly hand. Up to a portion of the -chapter on Samasa. Lines,
10-13 on a page. Character, Nagara of the nineteenth century. Appear- —
ance, fresh.
4263.
8703. The Same.
Substance, country-made paper. 10444 inches. Folia, 70+29.
Lines,.7 on a page. Extent in slokas, 4,900. Character, Nagara. Fresh.
From the beginning to the Krdanta chapter and —
taddhita.
: AYGA.
11178. The Same.
Substance, country-made paper. 11x65 inches. Folia, markedtenll)
12, 13, 73, 173. Character, modern Nagara.
A fragment.
4265.
11182. The Same.
Substance, country-made paper. 9x44 inches. Folia, 14-138 and
another set marked 1-13. Lines, 7, 8,120n a page. Character, modern
Nagara. “ Appearance, fresh.
+ te
| I,
From aarittefe to the end of SamAasa.
( 35 )
EIT.
afga from the beginning to the Stttra atyaTs.
There are 6 stray leaves belonging to Siddhanta-
kaumudi and 16 leaves belonging to Madhya-kaumudi.
42%66.
9603. The Same.
Substance, country-made paper. 1745 inches. Folia, 109. Lines,
Tina page. Extent in Slokas, 1400. Character, Niagara. Date, Samvat
1901. Appearance, fresh. Incomplete.
It contains the chapter on Taddhita only.
Post Colophon :—
AMAT Ueod |
4267.
8863. The Same.
Substance, country-made paper. Character, Nagara of the eighteenth
century. Appearance, discoloured.
‘Six batches of leaves.
L.
From the beginning to leaf 50 ending in “ wafa
feather” agai aeata fedtat etc. (1254 inches.)
[T.
From leaf 26 of the faa chapter to: leaf 110 of the
same chapter. (1254 inches.)
III.
Sixty-four leaves of the chapter on fasva! (105
inches).
| IV. ;
Leaves, from 20 beginning with qaqa ats: to leat
116 of, the fasraatget . (10x54 inches.)
( 2o )
V.
Leaves from 51 to 122 of the faxstaataét. (12 x 5S.
inches). | ,
-
as
Leaves 49-70 ending with the colophon. ‘¢fa qeugfmat ~
ee ofa afaciaife-azeursmaawyfaaeriatael Sata. (114 x5}
inches). |
4268.
8578. The Same and connected works.
Substance, country-made paper. 10343, 124«%44, 91lyq 12x44,
14x 5} inches. Folia, 668. Lines, 8, 9, 10, 11, 12, . :
Character, Nagara. Appearance, old, incomplete.
(1) From leaf 1 to 188. 1345
(2) Leaf 37 to 99. 13x65.
(3) From leaves 16 to 37. (af and qa) | “94 xed.
(4) faaraagat by Nagesa Bhatta. The date of copy-
ing is Samvat 1828. =iteate from the beginning to the —
end. Leaves, 1 to 233. 138x5.
(5) A few leaves of Haq: 135.
(6) Leaves from 22 to 31,1141, marked wfxaja with —
portions of some commentary later than Weere hae which
it quotes.
(7) Heat from 39 to 105. 135
(8) From the beginning of the 2nd half to the end of
faser; Leaves 1 to 67. 12444.
(9) a fenutaat complete. Leaves 1 to 17. 94 x4.
(10) The first twenty leaves of aqatgafea from the
beginning. 13x05. ,
(11) The first eight leaves of @feaztan from the
beginning. 14x55.
13, 18 on a page.
( oj
(12) The first thirteen leaves 1454 of @tz2tat the last
two works (11 and 12) are by Jaya-krsna, son of Raghu-
natha Bhatta, son of Govardhana Bhatta, the best of the
ataga |
4969.
Q271. Whe Same.
Substance, country-made paper. 135 inches. Folia, 15. Lines, 10,
llona page. Extent in Slokas, 300. Character, Nagara. Appearance,
tolerable. Incomplete.
A part of the Vaidika-prakarana of the Siddhanta-
kaumudi.
It begins thus :—
sinimia aA) gata qaetenaaad | sattada
qT QlG | Uta qaas | yaaa at AA g feawasHa |
famraaia | yuaq feared) faarey wetqar
eafa atl werda ga: ufameercfa faagi at
ala |
42,70.
9610A. The Same.
Substance, country-made paper. Character, Nagara. Appearance,
fresh,
Three batches of leaves.
I.
From leaf 36 to leaf 42 on qa~qi (13 x5 inches).
LI.
Leaves from 132 to 170 on faafa and aata! (133 x5
inches).
( TUT.
From leaf 1 to leaf 28 on fas~a; (11x44 inches).
( 38 )
4271.
A commentary on the same.
=) ~ .
4434. UISAaAITAT | Praudha-manorama.
A commentary on Siddhanta-kaumudi by the author
hamself,
Substance, country-made paper. 13x42 inches. Folia, 85. Lines
11 on a page. Character, Nagara of the early ninetee
nth century. Ap.
pearance, fresh. Incomplete at the end.
Up to Avyayibhaiva Samasa.
Often printed and often noticed.
42.72.
4561. The Same.
Substance, country-made paper. 1254 inches. Folia, Tifianta is —
complete in 124 leaves and krdanta in 111. Lines, 9 on a page. Charac-
ter, Nagara. Date, Samvat, 1739. Appearance, discoloured.
Contains two chapters only—Tifianta and Krdanta.
Post Colophon Statement to the Pinanta-prakarana :—
A | BC! Gee wamacatear | wt
wad | BAIATATT AA | Bry |
Post Colophon Statement to the Krdanta-prakarana :—
AYA | HAT | LORE PBT Royo |
42.73.
8704. The Same.
Substance, country-made paper. 94x 4 inches. Folia, 111. Lines, 9
on a page. Extent in Slokas, 3,500. Character, Nagara, Fresh. Old
Incomplete.
On the Krdanta chapter in 11] leaves.
Post Colophon :—
vaq qsee Atal: we zat Ux ae + + + +1
oe ee —
( 39)
49.74,
11181. Vhe Same.
Substance, country-made paper. 13x65 inches. Folia, 18. Lines, 10
onapage. Character, modern Nagara. Appearance, fresh.
A mere fragment.
Beginning :—
WTS TT Ue aay ATE TE TRTTME |
fazrmaalqlaral qa WeATCATA I, etc.
42.75.
11052. The Same.
Substance, country-made paper. 13x54 inches. Folia, 17 to 96.
Lines, 12 on a page. Character, Niagara of the nineteenth century. Ap-
pearance, fresh.
20A, saa ata |
096A, xfa earat: watfase: |
The MS. ends abruptly in the next chapter.
There is one more leaf marked 123 belonging to the
same work.
42.76.
11180. Zhe Same.
Substance, country-made paper. 13x45 inches.
Lines, 11 on a page. Character, modern Nagara. Appearance, fresh. A
mere fragment.
A277.
S916. The Same.
With the commentary RS RUS | Laghu-sabda-rainam.
\3 x
By Hari Diksita, the grandson of Bhattojt Diksita.
Substance, country-made paper. 13x05 inches. Folia, 150. In tri-
patha form. Character, modern Nagara. Appearance, fresh. Incom-
plete. Up to a portion of Karaka.
See L. 791.
Folia, 99 to 1465.
¢ 40 )
4278.
526. WINS CAA | Laghu-sabda-ratnam.
A commentary on the Praudha-manorama. By Harti Dip
sita son of Visvesvara Diksita and grandson of Bhattojy
| HON
Diksita.
To the end of the Suvanta chapter.
For the manuscript see L. 1293.
This is called Laghu-Sabda-ratna, because there is/au
larger work called simply Sabda-ratna. See T.0. Catal
651 and 652.
4279.
11210. Lhe Same.
Substance, country-made paper. 10x 4 inches. Folia, 218. Lines, 8,
3 on a page. Character, Nagara. Date, Ssamvat, 1853. Appearanee,
fresh. To the end of Subanta.
Colophon :—
sfa stlaeifaaugttattas faastetas ey gieaat-
TATITSN Ta Hay aa taaTag |
Post Colophon :— ‘
aad (sus fafa taaeta aare |
ate | te |
4280.
S279A. The Same.
I. gaa
Substance, country-made paper. 10x42 inches. Folia, 4 to 168, of
which the 31st is missing, in two hands the first ending leaf 57. Lines, ll
on a page. Character, Nagara of the early nineteenth century. Appear:
ance, old and discoloured. Incomplete in the beginning.
— Colophon :— |
ata alae faaugisttae faae fe tae ae ateaat-
THe Taste Tari THAT |
( 41 )
i], TasaqyRcMe |
Substance, country-made paper. 10x44 inches, Folia, 56. Lines,
ll per page. Character, Niagara of the nineteenth century. Appearance,
fresh.
Colophon :—
o > a - oe ets
sfa etiaangitauts-eifaaeiefachad wana
fas SHIRE |
fl. @fent gta |
Substance, country-mado paper. 10x44 inches. Folia, 19. Lines,
' ll on a page. Character, Niagara of the nineteenth century. Apperr-
ance, old and discoloured. Complete.
Colophon :—
| sfa etfaasntazagistits-aitaaditars. thaa-
wft_fartra-aameta feat ATA |
See [.0. Catal. No. 653.
4281,
. S867. The Same.
Two fragments from the beginning.
2. Substance, country-made paper. 121x6 inches. I, fr. 1-53; H, tr.
| I-33, Lines, 12 on a page. Character, modern Nagara. Appearance,
fresh,
Mangalacarana :--
TafaraMatrS WarWalsarna |
ald aHVAN suas AagteS: |
4.282.
10887. The Same. , .
Substance, country-made paper. 94x 4 inches. Folia, 79. Lines, 16
on a page. Character, modern Nagara. Appearance, fresh. A frag-
ment.
( 42 )
Colophon :— |
sfa | -stladifaaugtfatte-Ahaadt aeas-Sthae
efi-farfaa waneta afeat AarAt |
Post Colophon :—_
aad wus alfa Fe Ast a 2 |
4283.
3085. ATAMATU: | Bhava- prakasah.
By Vaidya-niitha Payagiunde.
Substance, country-made paper. 11443 inches. Folia, 1 to 107+
1 to 97+227 to 415+424 to 594. Lines, 10, 12 on a page. Character
. ? . )
Nagara. Appearance, discoloured. The first half of the first leaf is en-
tirely corroded breadthwise.
Bhava-prakasa is a commentary by Vaidya-natha
Payagunde on Laghu-Sabda-ratna of Hari Diksita. which is
a commentary on Praudha-manorama by Bhattoji-Diksita
‘ -. p
a commentary on his own Siddhanta-kaumudi.
Leaves 1 to 107 end with Paribhasa-prakarana..
Then come leaves 1 to 97, a restoration, beginning
from the third line of 106B. (colophon in 9@R— fa
wa ata).
After a gap come leaves 227 to 415 of the old man-
uscript. There is a colophon in 251A, which closes the
Pafica-sandhi-prakarana :— |
afa attaq Wawra sl eagqasauing-aqarqmRa_aayant
wasiagiaa wqafayunca ufc | ;
There ,is, again, a gap of leaves 416 to 423. The last
batch of the leaves are from 424 to 594 and are of the
old MS. ‘The last leaves are concerned with Karaka
and upapada.
The first leaf of which the first half is entirely gone
- contains :—
(1) aved fasiga safaadtauttad fre feseareat |
2) SHCA SNTATATATAAT Fa YR AGTAA Wet |
3) araeatfaa Wrayaurenat aaarat Tae |
4) aqifeatfemarfefatua: freramiafaatd AFaT |
)
5) ararat fatauufcearars’ aTataat AFT Wa |
6) safeaaatifunaaanafaafauera aXe |
71) ayafafaayee at 4 arfaatfesarteataaat |
8) qfasamaaaaqnyy anratqaifad eaatfeara |
)
(
(
(
(
(
(
(
(9) Qufestanaa-oresqataa-wreaaeaat ITZ I
(10) afad frafaara BRASAAMIAGIFAT AF—
(2nd leaf) ata 4 yaatazaatatsatawatharagtage
astqaaaan Wawa aga faayrfa Tafasaafafa |
4284. |
9371. MINIS SUNT: | Laghu-sabdendu-sekharah.
\3 \9 :
A commentary on Siddhanta-kaumudz.
by Nagesa. |
Substance, country-made paper. 13x95 inches. Folia, 95. Lines,
15 0na page. Extent in Slokas, 5,700. Character, Nagara. Appearance,
tolerable. Incomplete to the end of MITT |
This is a well-known commentary on Siddhanta-—
kaumudi.
Mangalacarana :—
. “aaa era Raafeateaz |
fMARSHATAT TATA... ++ |
AAT BIT AiTAyaA TATRA |
eas )
4235.
d279B. The Same. |
A commentary on Bhattoji Diksita’ s Siddhanta-kaumudi by
Nagesa Bhatta, son of Siva Bhaita ; being an abridge-
ment of Sabdendu-sekhara by the sume author.
I. fasagacae |
Substance, country-made paper. 10 x 43 inches,
| Lines, 10 on a page. Character, Nagara of the ninetee;
pogie pearance, old. Incomplete in the beginning.
Folia, 6 to 134.
ith century. Ap-
| Colo phon :—
| | : : zta tranggaaatay saa sasaRy way seat
iy farses eremaT a | ie
; In a later hand :—
TYAQT RZYo |
{l. wagacare |
Substance, country-made paper. 10x 4} inches,
Folia, l to 5D.
Lines, 7 on a page. Character, Nag
ara of the nineteenth century. Ap-
& : pearance, old. Complete.
The leaves are all marked a, &. &.
Colophon :— 4
— Rea a agg aadiats_ampstagad
qaMeeiat fa
Here the MS. breaks off.
See 1.0. Catal. Nos. 663, 664 and 665.
4236.
5229. The Same.
Substance, country-made paper. 12x53 inches. Two fragments, one
containing 72 leaves of which 9th to 31st and 34th are missing; and the
other contains 47 leaves of which the 34th and the 36th are missing.
Character, Nagara. Appearance, old and worn out.
( 45°)
4.287.
S866. The Same.
Substance, country-macde paper. 124x5 inches. Folia, 72. Lines,
12, 13 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, discoloured. <A fragment.
4988.
11092. The Same.
Substance, country-made paper. 10}5 inches. Folia, 100, Lines,
12 ona page. Character, modern Nigara. Appearance, fresh,
95B, sant Ufast: |
The Ms. ends abruptly in the next chapter.
APYSYQ.
L1192. The Same.
Substance, country-made paper. 11x45 inches. Folia, 8 to 31. Lines,
150na page. Character, modern Nagara. Appearance, fresh.
A fragment of Sabdendu-sekhara (Samjia-prakarana).
APYGO.
4491, The Same.
Substance, country-made paper. 15x6 inches. Folia, 1-72+ 1-65
and 1-38. Lines, 14 on a page. Character, Nagara. Appearance, old
and worm-eaten. The first half only.
A copy of the lithographed edition of Benares.
4291. |
B17. PaStwarTet | Cidasthi-mala.
By Vardya-natha Payagunde.
A gloss on the Laghu-sabdendu-sekhara, by Vaidya-natha
Payagunde.
Vor the manuscript see L. 1305.
It comes to an abrupt -end.
( 46)
A292,
5. AATHCUPASTUMTATAT: |
Vaiyakarana-s iddhanta-ratnakarah.
Being a commentary on Siddhanta-kaumude.
By Ramakrsna Bhatta, the son of Timmalla.
See L. 705.
Hand-writing eighteenth century.
4293.
5279. awaalrarett | Tativa-bodhini..
A commentary ow the Siddhanta-Laumudt, by Jianendra
Sarasvatt.
iL.
Substance, country-made paper. 115 inches. Folia, 328. Lines
il on @ page. Character, Nagara. Appearance, old.
From the beginning to the end of Taddbita.
For the beginning sce 1.0. Catal. No. 654, 655.
394A, afa afsautmat |
Then follows the commentary of Dvirukta-prakarana,
which is not complete, ‘in the present manuscript.
Il. fase |
Substance, country-made paper. 11x65 inches. Folia, 171. Lines
1l on a page. Character, Nagara. Date, Samvat 1899. Appearance,
old and discoloured. Complete.
Colophon :—
sfa eae ata aaa Sa tala ae ia
antaastiwacadiad fasratactarernct at
CE SECOREE fasriatas PAHS |
o
{| aig
Post Colophon Statement :—
adaq wee Brats ate aaat Wal avTat Wafsaras
fafed ufasaatiteaeataysataa | BA Bard |
4AVYOA,
9619. Vhe Same.
Substance, country-made paper. 10x53 inches. Folia. 65. Lines,
8 on a page. Extent in Slokas, 780. Character, Nagara. Appearance,
tolerable. Incomplete at the end.
Well known.
i 1 . AO
From the beginning to aWqafuqTe upto * sata ary
Gaq |
, 4295.
QO777. The Same.
Substance, country-made paper. 11x6 inches. Folia, 38. Lines, 6
on a page. Extent in Slokas, 418. Character, Nagara. Appearance,
tolerable.
A fragment.
End of ufearat wae and beginning of aaate |
4296.
S702B. The Same.
_ Substance, country-made paper. 10x 4} inches. Folia, 358. Lines,
10to ll on a page. Extent in Slokas, 7,200. Character, Nagara. Worm-
eaten, Fresh. Incomplete.
1. The Tifanta-kanda complete in 199 leaves.
2. The Krdanta chapter complete in 159 leaves.
4297.
262. aaifaat | Subodhini.
By Jaya-krsna, son of Raghu-natha, and grandson of
Govardhana Bhatta of the Mauni family.
For the manuscripts see L. 1417.
( 48 )
Contains commentary on the chapter of accentuatigy
only, of Bhattoji Diksita’s Siddhanta-kaumudi grammar,
7.
Repeatedly printed in Tndia.
8917. Whe Same.
Substance, country-made paper. 13} «53 inches. Folia, 28. Lines,
10 on a page. Character, modern Nagara. Appearance, fresh.
Contains commentary on Vaidika prakriya only.
Complete in 28 leaves.
See L. 3122.
4299, ;
~ ;
so4. fasTRaalerre wien:
Siddhanta-kaumudi-gudha-phakkika-prakasah.
By Indra-datita Upadhyaya.
For the manuscript see L. 1771.
The: manuscript has been repaired with transparent
paper. But on the margins ordinary thick paper has been
used, and almost all the leaf marks are covered over with
it. So at the present state of the manuscript it: cannot
“operly be described. =
ned 4300. i
| : ' By
2359. qearreraett | Purva-paksavali,
By Horila Sarma. ‘
Substance, country-made paper. 11x4% inches. Folia, 49. Lines,7
ona page. Extent in Slokas, 1,000. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete. ]
The MS. contains a collection of subtle questions on —
Sanskrit srammar, put to the assembly of _, Pundits ab
Punya-grama or Puna during the ascendency of the
Peshwas. The questions relate to Siddhanta-kaumudi
mainly. | *
|
|
|
[
:
ee
=
|
|
( 49 )
Mangalacarana :—
1a hrs Ast TUMATIHaGa |
wT Teas ATAU HAAN ||
The object of the work and its author :-—
qUaaaat I Aaa wa ata |
oa Wea: Hat atm ufagae aaa l ,
faard A wat aaRuHTeTa Wraatea |
Eat ANA: war Stasrfrawsa
Colophon :—
a Staatfran[ a laat yaataat SAAT |
4301.
mafesraraaat |:
Madhya-siddhanta-kaumudi.
by Varada-raja. |
Substance, country-made paper. 104 x 4 inches. Folia, 133. . Lines, 11
on apage. Extent in Slokas, 3,058. Character, Nagara. Appearance, -
old. \
Separate pagination for different sections. The first
two leaves of Samasa are missing.
An abridgment of Siddhanta-kaumudi called Madhya-
kaumudi, from its moderate scope: not so detailed as
Siddhanta-kaumudi, nor so condensed as Laghu- kaumudi.
4302.
. 1954. ' The Same.
Substance country-made paper. 10x4 inches. Folia, 85. Lines, 8,
9 on a page. Character, Nagara. Appearance, discoloured. Down to
the yatianta-prakriya.
7
( 50 )
Post Colophon :—
@ we atattefaa uaa aia wa
4308.
11183. The Same.
Substance, country-made paper. 105
inches. Lines, 9, 10 on &
page. Character, Nagara.
The leaves of two different MSS.
I. 1-89 from the beginning to the sittra ofaetat
eUaTEAUIe |
II. Marked 38-70, from the concluding portion of
arte |
TOA, xfa fad aa TSG |
It ends abruptly after the stttra Bikst AS AAT |
4ASOA.
5103. The Same.
Substance, country-made paper. 94x 4 inches.
Folia, 100 to 20%:
Lines, 9 on a page.
Character, Nagara of the eighteenth century. Appe"
ance, old, worn-out and faded. A fragment.
From the middle of Nama-dhatu to the end of the
work.
Last Colophon :—
ata t+ + + aeeUHAAsAAT mafasranse
aaTtrATA |
Post Colophon Statement :—
E+ + 4+ erauiigawg |) wafasraatyal a4
ee
C Sl)
4305.
9301A. The Same.
Stray leaves.
The chapter on fas-q of Madhya-kaumudi in 41 leaves,
, and 8 leaves of krt-prakarana of the same, both with
_ marginal notes.
4306.
9776. The Same.
Substance, country-made paper. 11x6 imeches. Folia, 20 to 59.
Lines, 90n a page. Extent in Slokas, 560. Character, Nagara, Appear-
ance, tolerable.
A mere fragment.
4307.
10856. The Same.
Substance, country-made paper. 105 inches. Folia, 16. Lines, 10
on a page. Character, Nagara of the nineteenth century. Appearance,
discoloured. A mere fragment.
4308.
10871. The Same.
Substance, country-made paper. 9x4 inches. Folia, 43. Lines, 8
on @ page. Character, Nagara of the nineteenth century. Appearance,
discoloured. A fragment.
43A, xsaaqatfa |
4.309.
, 11256. The Same.
Substance, country-made paper. Character, Nagara.
“A fragment of Madhya-siddhanta-kaumudi, with
leaves marked from 70-72 and 71-80.
4310.
a 2287. wafeararantaet |
. ” ~~
Laghu-siddhanta-kaumudi, aa
a 7 By Varada-raja. a
Substance, country-made paper. 10343 inches. Folia, 139, of which
16, 18, 19, 20, 21 are missing and the leaf-mark of 102 is omitted. - Charac-
ter, Nagara of the nineteenth century. Appearance, fresh.
Colophon :—
gears. ufssrat aratat atoantfean | |
mat acearaa watagrataet i
, _ Post Colophon :— yy
he , aa | tfa starfeatbarreastt |
4310A.
87038A. The Same.
In 75 leaves.
is
a
ig
Re
Substance, country-made paper. 10}x4% inches. Folia, 75, Lines
8 ona page. Extent in Slokas, 1,100. Character, Nagara. eas
fasale nu 1-43 B.
i ae. wa “as 43 B-50B.
e . ae fauta ys 5IA-52A.,
aaa ia 52 B-60A.
ata T 60A—72B.
wat uaa 72 B—75A.
4311. a
a ; : 11193. The Same. ug
rf Substance, country-made paper. 10}x5 inches.. Folia, 40 to 12%
Cheracter, modern Nagara. Date, Samvat, 1857. Appearance, rsh
From the sittra a awfo @ UTa aH to the end.
ay 1: }
ase
( 53°)
Last Colophon :—
-
Wreeatae ofasrmat aratat sate |
BAT qeeuisa wafearaatget 1
fanraatgel weateeatmia: |
Wa aczaIsT: Blaafesraatgqera I
tfa Sarat |
Post Colophon :— ;
Haq (Tyo wre wifsareata WF ORR aAUe arfa
aquua feat sat cfaarat fafeatae wena |
saat queria sracatuf face
QAVATMA TY Wists Qua WARM wR |
4312.
11237. The Same.
Substance, country-made paper. 11x45 inches. Folia, 32. Lines, 9
onapage. Character, modern Nagara. Fresh. ,
A mere fragment. To the end of the avyayas or
indeclinables.
4313.
11236. The Same.
Substance, country-made paper. 104x5inches. Folia, 28. Lines, 7
onapage. Character, modern Nagara.. Fresh.
A mere fragment.
226A, gasrat wuafagT |
It ends abruptly.
J 4314. ‘
11105. The Same.
Substance, country-made paper. 10x5 inches. Folia, 2 to 14.
Lines, 9 on a page. Character, Nagara of the nineteenth century. Ap-
pearance, discoloured. A mere fragment. One stray leaf.
( 54 )
4315.
11000. TVhe Same.
| } ‘ Substance, country-made paper. Ed x 43 inches. Folia, 6 7. Lu ine
_to9o0napage. Character, modern Nagara. Appearance,
. It begins with Akhyata: ae, fae, Fe, ete.
The last leaf 67 ends with the stttra of Te iddbita
2” 2
ey. eo
.
wn
tig ¥
ae
°
7
. »
o
=
‘>
“, 7
- ‘ P us
i e
+a!
her?
'
ay
a. % «
re?
nae TS
ay -. =x
* =,* * °
ie +3
r a.
De 3: « ite
PHILOSOPHY AND TECHNICAL RULES
OF PANINI.
4317.
8085. aTaqmete: | Vakyapadiyah.
By Bhartr Hart.
Substance, country-made paper. 10x5 inches. Folia, 2 to 88. Lines,
Yona page. Character, Nagara. Samvat, 1758.
€aten and worn-out.
Appearance, old, worm-
Last Colophon :— :
| afta shite fad aTHIUStA Tata: Aras: |
Post Colophon :—
] WHA HIT (ORS SHR ve get vo UH UH AT
BIT eoy |
; The author died in 651, so Says It Siang.
: 4318.
1458. ATG STaU ATH: | V akyapadiya-prakasal.
By FHari-vrsabha,
: 4° —55.
Substance, country-made paper. 11x41 inches. Folia, eae Hy
Lines, 7 on a page. Extent in Slokas, 1,155. Character, Nagare- ate,
Samvat 1902. Appearance, new.
Contains the first kanda only.
ih
Colophon :—— :
ata sila ela aac few fae had a Taare TT TAT R
WTA aat WA SARI ye aaAa |
Post Colophon :— '
daq (ook BIW HMaT sfaat ga fearatafs WUT |
( 56) .
The text and the commentary both have been print
in the Benares Sanskrit series by Mahamahopadhyaya
Gangadhara Sastri, C.1.E. C
In the fifth and sixth centuries A.D. the study of Panini
with its Bhasya was discontinued. Bhartr Hari’s @ ru
Vasu-rata got a manuscript of the stttras and the bhasya
from Southern India and taught it to him. He wrote the
Vakyapadiya commonly called after his name Hari-karika,
a3 a succinct commentary to the Maha-bhasya in verse
The work has three kAandas: Brahma-kanda, Vakya-kanda
and Pada-kanda. It is commonly said that the karikas
have two commentaries. one by Hela-raja and the other by
‘Punya-raja, The first two kandas have been printed with
commentary. Punya-raja’s name appears in the com-
mentary of the second kanda, but not in the first. In the
printed text the editor attributes the commentary t
Punya-raja, but on what authority he does not say.
Neither in the body of the commentary nor in the colo-
phon of the first kanda is Punya-raja’s name mentioned. |
;
4319.
8822. Whe Same. ty
With a commentary. STARTUSA only.
Substance, country-made paper. 14x65 inches. Folia, 37, Lines Q
on a page. Extent in Slokas, 800. Character, Nagara. Date, Samvat
1936.
Complete in 37 leaves and 157 verses.
of
4320.
1114. URW: | Prakirna-prakasah.
By Hela-raja.
Substance, country-made paper. 104xx4?inches. Folia, 239, Lines:
120napage. Extent in Slokas; 8,600. Character, Nagara. Appearances
tolerable. |
( Sf)
A commentary on the third part, Prakirna, or Pada-
_kanda of Bhartrhari’s Vakyapadiya. Incomplete at the
eud. See I.O. Catal. 707. The commentator was the son
of Bhiiri-raja.
4321.
D7 2. wMhiZAa a | Sphota-tattvam.
By Sesa-Krsna.
For the MS. see L. 1431.
The end :—
Trad (?) efaqarat arat aarfataferat |
faquiafeui nas UTAaTARataty |e I
fRAHRAHAAT TA AAA TAHAS |
a yanmar aafa weaquyaad AE |
WAS AAU (QAAAA |
staawtatacat stead frefaaa |
fate: weaaafaantfots: arecettaty: |
cafadurfecefad ara ufaaa | ‘i
A work on the philosophy of grammar. It follows
Maha-bhagya and Bhartr Hari. The author’s time is the
end of the sixteenth century.
4322.
883. This aSHA | Sphota-catakam.
By Mauni Krsna Bhatta, son of Raghu-natha by Janaki,
and grandson of Govardhana.
lor the MS. see L. 1780.
Aufrecht, in his Cat. Cat., would call the work Sphota-
candrika. He gives also the author’s name as Jaya Krsna,
which is not supported by any of his authorities,
8 .
( 538)
4323.
487. Aqracufaararayaaa |
Vaiyakarana-siddhanta-bhisanam.
By Konda Bhatita, son of Rangoji Bhatta.
For the manuscript see L. 1328.
It ends :—
faarita wadaaata sara
..
'
faa al ar ifeage~w afaguretfeat omar |
qaa qafoasaa faafa fasta aat
atralal dae TETRA TAs” us |
urfartaa4et GY Aa al jaytacaaifafa we |
aa yuufad fe ada Siaet wag ata faa |
This MS. begins with the commentary of the 27th
karika out of 74 by Bhattoji Diksit on the philosophy —
of grammar.
= |
a
Colophon :—
sfa Slag WeaTaa UAT aTATa TEU Te aye teat
- y- -
432.4.
11021. Whe Same. a
| Substance, country-made paper. 12x5inches. Folia, 171. ‘Lines, —
ll on a page. Character, modern Nagara. Appearance, fresh. Complete.
Last Colophon :—
a aAQ<dq( eg QATMOTATaAT ; .
afa siaq LTATR UTR TUT aa HT AZ
: e ~ = o~
AA-RUASA FAHLUAHM Wa: weale: warn! |
4325.
8864. The Same.
_ Substance, country-made paper. 114} inches. Folia, 132. Lines,
10 to 14 on a page. Character, Nagara, written ina neat, clear hand of
the eighteenth eentury. Appearance, discoloured. Complete. .
( 59)
The Last Colophon :—
sfa Slaquea aaa mara rarene tage a-zatpsrgt-
AAT AMSASHA TAACMAaM WA! MASATS? SATA: |
4326.
7792. The Same.
_ Substance, country-made paper. 101x656 inches. Folia, 20. Lines, 11
onapage. Character, modern Nagara. Appearance, fresh.
A mere fragment, up to apadana-karaka (ablative).
a 3 4-327.
9767. The Same.
Substance, country-made paper. 1l1x4 inches. Folia, 34. Lines, §
on a page. Extent in Slokas, 670. Character, Nagara. Appearance,
tolerable.
A fragment.
4328.
STO2ZA. The Same.
Substance, country-made paper. 10x4} inches. Folia, 87. Lines, 8
ona page. Extent in Slokas, 1,400. Character, Niagara. Date, Samvat
1838. Fresh. Worm-eaten. Complete.
Complete in 87 leaves. Samvat 1838. Contains
Spota-vada only.
_ ;
aaa amg afe waarat-ateerat |
4329.
917. The same with a commentary called, Darpanda.
For the manuscript see L. 1818.
’ The text is by Konda Bhatta, son of Raigoji and
nephew of Bhattoji; and the commentary by MHari-
vallabha, son of Vallabha Parvatiya of Ktrmacala.
( 60 )
4.330.
8926. FqmayTa y) taAy | Bhisana-sara-ttka.
‘Substance, country-made paper. 11x33 inches. Lines, 9 on a page.
A fragment with leaves marked 75 to 78, 96, 99 and 100. Chala
Nagara of the nineteenth century. Appearance, discoloured and worn out.
This appears to be a gloss on an abridged recension
of Konda Bhatta’s commentary on 74 karikas.
In leaf 96B, Colophon :— -
sta Binge wets eareawtafare-
faaqem |
4331.
= ba
477. ATTIRE AS TATA ST |
Laghu-vaiyakarana-siddhanta-manjusa.
By Nagesa Bhatta, son of Siva Bhatta and Sati, pupil of
Hari-diksita and Ramasrama. v
For this MS. see L. 13841. It is a mere negli
For complete copies of the work see 1.0. Catal. No. 718
and Aufrecht, Cat. Bodl., No. 403.
4332.
11227. The Same.
Substance, country-made paper. 1214 inches. Folia, 387. ‘Lines,
8,90n a page. Character, Nagara of the nineteenth century. In two
different hands the first ends in 24. Appearance, fresh. Complete.
Colophon :—
ata STAIN ataaadiasatwansga-a
= |
at saute slaAAQavSy: BpSats |
_ Post Colophon :— am
Aya | AAT (1 DARHT wooo | feweat
TH: | a} :
; ( oP]
4333.
4495. The Same.
_ Substance, country-made paper. 11x65 inches. Folia: ‘s3rangfe-
faq: in 1 to 66, H1a@ufsurarafamy: in 1 to 27, eadfeere: in 1 to 129,
wlefagit: in 1 to 57. Lines, 11 on a page. Character, Nagara. Appear-
ance, fresh. Complete.
A copy of the hthographed edition of Benares.
4334.
3679. GCA A SST | Parama-laghu-manjusa. °
By Nagesa Bhatta.
Substance, country-made paper. 13x4 inches. Folia, 9. Lines, 10
onapage. Extent in Slokas, 260. Character, Bengali. Date, Saka 1746.
Appearance, fresh. Complete. Without the Mangalacarana.
For a description of the work see L. 2299. This 1s an
abridgment of the author’s own work Vaiyakarana-laghu-
siddhanta-mafijtisa.
Post Colophon Statement :—
Was ququatfiquiawxt fF weaa-
ala anaqega ufena wat walters |
agaratad faaa yeat aniwustifeai
wet Sifmaeeetucgt aratyate: MET I
THT VOBY | Stent |
4335.
11132. qT | Kala.
Being a commentary by Vaidya-natha Payagunde on
Nagesa’s Vatyakarana-siddhanta-manjusa.
Substance, country-made paper. 12x5 inches. Folia, 256. Lines,
llona page. Character, modern Nagara. Appearance, fresh. The MS.
ends abruptly.
a Saw em ee eee in
‘i
PIGS
Beginning :—
da qaaaawia faanta BeaTAa | | sl
ala ae TTA Pa aaAT ATA I f
For a description of the work see 1.0. Catal. No. 722.
« si
f ¢
'
4.336.
5872. Wears anl Wt | Sabda-tattva-prakasah.
| By Indra Datta Upadhyaya. , q
- Substance, country-made paper. 12} = 3} inches, Folia, 26. Linas
on a page. Extent in Slokas, 520. Character, Niagara. Date, seinatt
1877 and Saka 1742. Appearance, fresh. Complete.
A clear logical analysis of words—roots and ‘nfiee
tions. It is mainly based on Nagesa’s work and sonal
Phani-bhasya.
The Mangalacarana and the — of the works a
AMI AA 1
gary mifauetafae
qeeHRITAH( SY) |
aI FRA J ITA-
¢
geatataZ] wafMyTaeg BT I
ay aad ARHAITSAIAAMATAaeS Gad | was Coe
qeraaatat Sai AeA: | b
3A, ata uiaat urea | uiMiee year fas: mag aa
aatasisd Vara | | S.
| 6B, aaa aaraqayt BISA: | HATA Hey Sara | a |
SA, aad aca, atea |) a Tae aTaT WRT qenteare
wafer atfaqufaardat =fa | \ a “
is 11B, ata anfeae: Wats STS | eciee |
Cama cat | a
\s &
( 63 )
I8A, a@a faumeT arena: | wa weet fMAeEG wed as
weqfea at fadtiad 4 uctewatate: a 4 aufsaeamaiteaaraa-
agent shaaaya |
23B, ae afSea sada |
It ends :—
| aTaniangyefa(’) fad Waawd aaa |
diag faad araaeasaa |
gaat SAT aT wieuatat eatety |
ewaant Yu SEI CMa: Wuraa: |
saute Harefaarafuactfeat (2?) 1
freapetsare watet Taaqatatass
Colophon :—
TAUVUA-SHTART: WRAATTL: BATH |
Post Colophon :—
AUITATAT | AAT eToo | WH VOSR |
WIAA wat VHA wWyaTas |
| atvat fraaqarsatag SAaeey FT |
| yey aan frag stay fHaTT TESTA |
aag fafaea: ata Weearquaray |
stetatsag Bet usRey afane: |
a aaa oyqratS war a sae baz: (?) |
4337.
10204. urfasttaufcarat | Paniniya-paribhasa.
By Vyads.
Substance, country-made paper. 103x4 inches. Folia, 3. Lines, 10
on page. Character, Nagara of the eighteenth century. Appearance,
old and discoloured. Complete.
'
|
(7
\¢
lq
( 64 )
Beginning :— |
HemMmyad A: || Ag
qaqzenaaang Us | a Raw Wey | 7
yfaqetmat + + +A oem 1 ag sitar | a a
paenqaaaayas: | Bue frasratiaateeeter a
yeu) armatafsatt afta ayaa | wafa a
Ast azqudtasrna saaaaa faoe: aqeraaE a
P sit fe
area! watt fasta ares ataeta | aa
aqvet: WAT fata ATH ATLA |, etc., ete. 4
End :—
nisaraindett afge: He FATA oT_E qa!
amHatacat qa + STH + aaa | 4
, Colophon :— 4
sfa atfsfacfaat ofottaufarrat ARTA ars
aTat AAG | j
Post Colophon :— |
ove fracas UH |
4338. |
9216. UfCATATATS: | Paribhasa-pathah.
Substance, country-made paper. 11x65 inches. Folia, 6. Lines, 600
a page. Extent in slokas, 72. Date, Samvat 1904. Character, Nagata:
Appearance, tolerable. Complete. | .
It belongs to the Panini School. There are 129 Pari-
dg bhasas in this MS. |
It begins as in the next two numbers.
Post Colophon :—
ay yaa Haq catata a fasat aera y, | “Tile oh
i
ai
a’
2
*
( 65 }
4339.
10891. TUhe Same.
Substance, country-made paper. 11x65 inches. Folia, 5. Lines, 8
ona page. Extent in Slokas, 90. Character, modern Nagara. Appear-
ance, fresh. Complete.
- Colophon :-—
sfa wifaatagfearar |
On technical rules for the interpretations of the
suttras of Panini.
| Beginning :—
@ saya aa: | :
qreiatat fatuofaufaa fe aeeleaaaa | ll
a te aren YT |ffanaarstad | 2 |
Then 126 such rules.
End :—
aaiqanteqy aaanfautag wat arya Be:
funmutataameaaapy: (2) eed | ;
4340.
11264. The Same.
The first leaf only.
Beginning :—
& afer siqaenout-+ qeagsyt 7a |
gianaat fatuufaufaa fe acerca | 21 a fe
ata fafanaaetaa) | gatacrsatfa areata
Ta Yada! 3 | WeWATATyUlsaTAaa saa ala |
3 | fafeatratea vata) «| aTeTMAAAA(? ATH
fafa < 1°
re ae a, Ee.
f 6o )
4341.
3796. UfcaratTatea: | Paribhasa-vrttih.
By Sira-deva.
Substance, palm-leaf. 1842 inches. I*olia, 8]. Lines, 6 on @ page.
Extent in slokas, 3,200. Character, 3engali of the fifteenth century. Ap-
pearance, without any defect. Complete.
Colophon :— j
sfa FarHcMags-AwIa sagas tateeafacfaal
afer wiatasufaratfaaeme | ,
Post Colophon :—
aatral aa ufeurattaqemetfaae |
; Stan wea aH avait avate |
gaa fafaat gett at wtq Ufearfaata |
yaa ae Atat a faat aw amen: ||
RUC CUR CRI GSCU eiaatHe GARY |
See 1.0. Catal. No. 672 and L. 2074.
There is a complete index of the contents of the work —
at the beginning of the manuscript.
4342.
10571. The Same. |
Being a commentary on the paribhasas—or general rules of
interpretation and application of Panini’ s grammar.
By Stra-Deva.
Substance, country-made paper. 10x44 inches. Folia, 29 (by count:
ing). Lines, 10 on a page. Character, modern Nagara. Appearance,
fresh. ea
A mere fragment.
The leaves of the fragment seem to be in disorder, |
many of which are not marked. |
( 67° 4
4343.
2646. afarg-zsaz: | Paribhasendu-sekharah.
By Nagoj Bhatta.
Substance, country-made paper. 10x44 inches. Folia, 56. Lines,
llona page. Character, Nagara of the nineteenth century. Appearance,
fresh. Complete.
Often described and often printed.
4344.
9567. The Same.
Substance, country-made paper. 13x5inches. Folia, 23. Lines, 17
ona page. Extent in Slokas, 1,380. Character, Nagara. Date, Samvat
1911. Appearance, old. Complete.
Full of marginal notes.
Well known and often printed.
4345.
881. UFLATAS TTA |
Paribhasendu-sekhara-kasvka.
By Vaidya-natha Payagunde, son of Madhava by Veni.
For the manuscript see L. 1782.
Post Colophon Statement :—
ATMS AAT HTT BTETat ABAELAT |
GRE BATMT saws aataat || RR!
Haq tere fAo ATA Yo CR BHA |
Aufrecht, in his Cat. Cat., p. 612, seems to think that
Vaidya-natha has two commentaries on Paribhasendu-
Sekhara, one Gada and the other Kasika. I think, how-
ever, that those cataloguists who got incomplete manus-
cripts, thought from the first verse of the present com-
mentary, that it was named Gada.
( 68 )
The verse is :——
TUATH......AGASMSTA |
The colophon calls it kasika.
4346.
fasuafrtarat | Siddha-paribhasa.
Substance country-made paper. 9x4 inches. Folia, 56 (by count-
ing). Lines, 10 on a page. Extent in Slokas, 1,210. Character, Nagara-
Appearance, fresh. Incornplete. t
The work appears to be notes by some pandita on
the technical rules of the Panini school of grammar.
It begins :-— =
ay tara vat aH: |
agistefa aatfa ufsuraren fafumirataras mat
Uae Vena BWapat satamataret afew
aafeateateaaraiemueat uatd ufsaraqataraa
afy atafrzaaimd yaanfatagaaraads srt
aT waTaaat ACA TAA VSAM _ RATS |
The first leaf is not marked, the second leaf is marked
1, the third leaf is marked 2, the fourth leaf is marked 8,
the fifth leaf is marked 9, and the sixth leaf is marked —
11. In this leaf the work ends :— .
safasufeurarat aaiaaafasne 1 fra faa st
The other 50 leaves are consecutively marked from —
1 to 50, though this portion begins abruptly and ends
also abruptly. |
The first leaf beguns :—
fe =F a eta a ateutat =: |
And the fiftieth leaf ends :—
SA way afsaat axaenwat farfarseat
watg feaae sdiaacuant acagtatiaagagts 4 a |
‘aM
( 69)
ASAT.
872. The Same.
Substance, country-made paper. 13x6inches. Folia, 51. Lines, 10
on a page. Extent in Slokas, 1,000. Character, modern Kashmiri.
Appearance, old and repaired with transparent paper.
It ends thus :—
Tagua waarg wiqueunn fate a azafa-
fifa aa aaa argue: sarera F sulujefafa fsa-
ufanatt azeatq ya <xalfequerenfaataaae-
facta ag urere(fa)acaciaa arettaat |
GAMA || AATHA
All the leaves except the eleventh has on the left
upper margin €@te tte, while on the eleventh leaf it 1s He |
Tite | |
This is of the nature of a Kroda-pattra, and very
modern, as it often quotes Sekhara of Nagoji Bhatta.
SUBSIDIARY TREATISES OF THE SCHOOL
OF PANINI.
4348.
745. UT qaeaas | Dhatu-laksmanam.
For the manuscript see L. 1591.
Post Colophon Statement :—
aad (feR Fe BAMA Wt wait |
This is not a work on Vaidika roots, as Aufrecht,
following Rajendralala says. No special roots are ace
knowledged for the Vedas. yf
It is written in the Stttra form in 8 sections.
Peterson calls a similar book Dhatu- -laksana-parisista,
which may be an appropriate description. But it cannot
- be said to what it is a parisista. It looks more like
an Anukramani or index of initial words of some Vedic
work than anything else. As it is in 8 sections it seems”
that the work to which it is an index was an Astadhyayi. —
4349.
$e ; oo 5 :,
a 9792. aTfaettargara: | Pdnintya-dhatu-pathah.
Substance, country-made paper. 11x65 inches. Folia, 4, Lines, 1]
on a page. Extent inslokas, 96. Character, Niagara. Appearance, toler
able. Incomplete at the end.
Beginning :—
@ aa: frat! 4 aatat qew@udt aa ae
faueqernat: | tra sel, as wae are ufaerfewar
Tas, ae stst, ay are aidtuateaetathy, co
ura) sate | }
( Vi )
4350.
2001: aicactseat | Kstra-tarangint.
By Ksira-svami.
For the MS. and the work see L. No. 2588.
It gives the meanings of the Sanskrit roots with or
without prefixes thereon, according to Panini.
4351.
2809. UYTAUTa: | Dhatu-pathah.
By Bhima Sena.
Substance, foolscap paper. 7x4} inches. Pages 53. Lines, 13 on
a page. Extent in Slokas, 350. Character, Nagara. Appearance, fresh.
Complete. Bound in book-form.
It begins :— ..
STM WI TA: |
qoamat, fat wart, ufax area, fax qua,
ay fants, ate ufe ofa afe afte fearnfaante |
It ends :— :
TH ATH, UH RTA, Vist ada ceases |
Colophon :—
sfa erifasrarauea: warat: | Efe stargate
BTauts? VATA |
~ XW
srt fasaaea TH: I
4352.
8504. The Same.
Substance, country-made paper. 10x43 inches. Folia, 26 of which
the first two are missing. Lines, 9 on a page. Hxtent in Slokas, 378.
Character, Nagara of the eighteenth century. Appearance, old and
discoloured.
Colophon :—
fa waaaaAa-wiquis: Harn: |
This belongs to the school of Panini.
See I. O. Catal. No. 686. In this MS. there are seven —
lines more than in the I.O. MS. at the end.
4358.
10505. TVhe Same.
Substance, country-made paper. 9x33 inches. Folia, 18. Lines, —
10 ona page. Extent in Slokas, 468. Character, Nagara. Samvat, 1743 _
Appearance, discoloured. Complete.
Colophon :—
afa shitwaatactaa: orfattastaqute: Sara |
Post Colophon :—
Haq 7983 aaa aihas aaaal <«aaret fated |
qgaetiuataataantas | | Feawreaat: ww aad!
saoaratasrafe | atramaeg |) aTeeq | aaesante i
4354.
3718. UTqUsta: | Dhatu-pradipah. :
By Sri-Raksita.
Substance, palm-leaf. 161% inches. Folia, 59. Lines, 5 on a page —
Extent in Slokas, 1,400. Character, Bengali. Date, Saka, 1490. Appeat-
ance, old and worn out. Complete.
Colophon :—
sfa -sitafaanat aTqueta wutayeiyg wa uf
aHTAAT |
Post Colophon :— |
a = _ wy ca
ae MTT | |S AAT HBgara | |S aay aaa |
Sean aaa! SF aAT Nagae) fafeafad ser
AeA: UR HATA | Water aeeo tratfew@ xe
ATAISR Il
HM AM FIWIAS RAMUTAL GALANTE |
UIeaaT Ag aa war are aarfa aatfa aarfa [1 ](?)
faaruatatia faa ae:, etc., ete., ete.
In a different, later, bad hand :—
ag aaq aatfa a Wa: TIGA Beas
fed faq aata a ua: qIgaifader: |
Ve Ue waata 4 Qaarca Ware
yMitdsta vatatanfanfad aTaarata |
Begins :—
wa: forara |
aAatayataa wigat Thaaed |
qSUisyy Tar Hla: vtMAAITMSeTAT |
AIVAA AWAY aqgqawAat Yat
aid Hd Ala Vadegqaiea WT afaWeaeaTqIAA
watfemeae fruraatq wines t+++4+4+4+
vafeta uaa fafeufa : |
This is a commentary on the Paniniya Dhatu-patha.
It follows Bhima Sena. See I. QO. Catal. No. 687.
The I.0. MS. gives the full name of the commentator
as Maitreya Raksita. The present MS. omits Maitreya
and calls him by his title Raksita. “=
Published by the Varendra Research Society.
4355.
11120. UTA: | Dhatu-pathah.
Substance, country-made paper. 10x 5 inches. Folia, 14. Lines, 11
on a page. Character, modern Nagara. Appearance, fresh. Incomplete
at the end.
On the margins of the first four leaves: STq4uTs |
10
Beginning :—
WHITA az:
& at watat(?) vatTtiammatsrfa wees |
Wiest weeiatafaataeraat aa i (?)
WZ AUTSATH = Ue UTNE: Wy zst, ws aug t 1fit-
Hae uve ufasifaygqaiaay a, ete.
14B, efa afaaemiTegeies: |
Of Rudhadi there are only 2 lines. The MS. ends
abruptly. |
Apparently connected with the Panini school.
@
4356.
1596. QaTs: | Gana-pithah.
By Rama-Krsna, son of Govardhana Diksita,
Substance, country-made paper. 10x35 inches. Folia, 30. Lines,
10 ona page. Extent in Slokas, 500. Character, Naigara. Date, Samvat
1873. Appearance, fresh. Complete. | !
Post Colophon :—
Fale AG HAT (Toa Wy WITT | WAVE |
Colophon :— ; i
aft was Mamact farreng-crareanfaT tat rent
StaT a: |
The work belongs to the Panini school of srammar
and is divided in eight chapters. .
It seems to be an abridgment of the Ganapathah
attributed to Panini.
Aufrecht seems to have attributed it to Sakatayana’s
school in the first volume but in the second he correctly
attributes it to Panini’s school.
( 75)
4 356A.
9206. aifaataaya: | Paniniya-ganah.
Substance, country-made paper. 1l14x5 inehes. Folia, 9. Lines, 11
on a page. Extent in Slokas, 225. Appearance, fresh. Incomplete, to
the end of the second chapter. Beautifully written.
Often printed in India.
4 356B.
1749. aTfaatiaaywMye: | Parniya-gana-pathah.
By Geya-deva.
Substance, country-made paper. 10}x44 inches. Folia, 17. Lines,
12 on a page. Extent in Slokas, 280. Character, Nagara. Samvat,
1878. Appearance, fresh. Complete.
The Colophon giving the name of the author :—
, afa Siatafeuhas ata + + yang | (?)
The mangalacarana and object of the work :—-
aad fra aart qeaty yaaa: |
awed Tut: ufaufearat warafa |
This is a collection of Pratipadika ganas such as :—
1B, wa aatte:; sea @qafe:, awe atte: ; 2A, ay of, we
satfe:; 2B, wa aiaama, ay fasaymar:, we arate;
3A, ay waatteatte:, ase Sugtfe:: 4A, we efaaa alee:
and go on.
The date of the manuscript :—
qafeafenfatse mitafe faa 1a faut yata-
qeaat fataafae qaotaaaa |
On the left hand upper margin there is 4, @, in the
first two leaves and a, ut throughout the leaves trom 3
to 17 the last leaf. But there is no definite name of the
work given in the body of the work.
a el i
( 76)
43577. ha 1
2984. SWITSMAA | Unadi-sitram.
Substance, country-made paper. 7x4} inches. Folia, 13. Lines, lk
on a page. Extent in Slokas, 350, Character, Nagara. Samvat, 1675
Appearance, discoloured. Complete to the end of the 5th pada.
Last Colophon: — a
samfzes WEA: UTZ |
The Post Colophon Statement :—
AVA eT |
gafa faa anqaad
waitees Auta UTA |
gat fea HAaqKe fe
afreagiziiaaaia |
Haq Yeu |
‘dle It begins :— a
watafeaterasy so) tfetafa fa aff
wa) eam: | ¢ afa afa afte afew ao | a
It ends :— i
qicaq |) wife aatsh: eaqgfa afe qa
ia)
i Se Il ,
oe 4358.
a 1753. Zuarfeata: | Unadi-vritin.
; “# by Ojjvala Dutta.
Rc, | Substance, country-made paper. 11x44 inches. Folia, 93. Lines, 1
ii on a page. Character, Nagara. Date, Samvat, 1695. Appearance, to er
. able. Complete. ( A ‘
x Post Colophon :— 7
aad rey aaa saute afe « cat aaritst 8 TT
o aaATIUStaMeaa WelafHs wat Atala | j rx 4
rei by Aufrecht and Jivananda Vidyasigare
4359.
2875. The Same.
Substance, country-made paper. 10x inches. Folia, 63. Lines, 10
on a page. Character, Nagara. Date, Saka 1511. Appearance fresh.
Complete.
Colophon :—
rasqaeutacraarat surfesat vatauret faa Te:
aaa: | eautfecha: GATar |
Post Colophon :—
TIA WUTAUHfas aa wwe faa
searatfatetslattalajated arasty apt fas |
aifaat quilaqnaaaay eaaaqsra fa:
Wes: # emfecafeaq WeS-ATTAy I
4A36O.
3594. The Same.
Substance, country-made paper. 153x3i} inches. Folia, 44. Lines,
7ona page. Character, Bengali of the eighteenth century. Appearance,
discoloured. A fragment.
See Lor. P. 164.. It agrees with Aufrecht’s edition.
Authorities cited in it :—
afuqiangqaura ifaad umetaata |
wa WIE -agiat qWewa4s |
SunyTay aa gufa ataafera |
ats eyUAta aataat afada |
sutfexuaisaat afefa: afeta: Aart: | |
aretetal faye: aM yaa! Il
at Tate aRratad Qyaaia fewer |
aaa: HATA Hat chataeaa |
392B. Colophon :— 7
Panini did not believe in the doctrine that all NOLny
could be derived from roots. He 1s. therefore, often ridk
culed as avyutpanna, by Patanjali. In suttra Il, y
1; he dismisses this theory by saying Unadayo bahalay,
using the word Bahalam in the technical sense: afq Win
afacuafa: etc. But the Panini school of grammar)
are using for many centuries, 2 body of stittras Call
Unadi saittras as subsidiary to Panini’s stittras. They ay
often attributed to Sakatayana and Panini in his Slittny
often quotes an older author named Sakatayana as in the
suttra TL. 4. L11. as: Wa iaaeaa
The lithographed edition of the work described jy
Lgr. 164, attributed to Vararuci, 1n ten padas appeny
to be a different recension of the work. '
4361.
A776. yaztoantaanr | Pradipa-kalika.
| By Bhima.
Substance, palm-leaf. 12x 2 inches. Folia, 1 to 47 of which tho fk
lowing leaves are missing,—3s, 11, 19, 33, and 44. Lines, 5 on ont
Character, Bengali. Date, L.S. 198. Appearance, old and damaged.
A good treatise on conjugation of the school a
Panini. |
-
—s
Beginning :—
qoug Haag vald tar aaME |
fequiraiudete: a aaaea urfuta: |
sean fafa uz fase aay as orarang fava
atagutesaa) ft aX! yatzeat uraa efa urged!
udtfiatas ada afsfa adart ara urge faafat
az ueat vata | a a uefa aaaterat: wat aafe '
Ti ends thus :-—~
AMAA TT uf<eeete-
Creag feacaryaeganay |
au ucivafand faqeesr
wat afavaq avafaate ze p
Colophon :—
ata qatfenm: Bate |
Post Colophon :—
atau gfe 9 wiart we ees quae aganai
at Stared waut aayaadtiga gfe arqaraeTaset
attr far: =A fara ferett a [ea errata afafad sate
at Usa |
fatexe faaral afeew vara |
Ufseq Welt F wilde Ve aa
ataat qofasefa cafasete ast .|
Fat gotasta gqutassta asa: |
fafa aa RF |
4362.
8122.
Substance, palm-leaf. 114x2 inches. Folia, 27. Lines, 5, 6 on &
page. Extent in slokas, 550. Character, Newari. Appearance, old.
Date, N.S. 517. Complete.
A grammatical treatise of Panini’s school on con-
jugation.
The Mangalacarana and the object of the work :—
Hat gag urea attufangatetaa |
TOeqraaaa fase SUA |
ast weretat wr faarea wear waa FH Gare
wsi<a | we fue ¥ez, etc., etc.
—)
Colophon :— /
fas wen warafae Gem aa fas |
} :
Post Colophon : — a
: - z=
AYARM ANA TsaTa amd 1A9 s ATA THl-
Zea wats amas aaah aRaTAT HATHA | Aer
7 ©
ay, aut fataa A.
The next leaf does not belong to the manuscript.
4363. S
7788. BVaTaAATT: | Avyayartha-prakasah.
*¢
By Patanjalhi, |
Substance, country-made paper. 1035 inehes. Folia, 5. 1 jines, 12
on a page. Extent in slokas, 180. Character, modern Jaina Nagare
Appearance, fresh. Complete. A
Colophon :—
fa aaa |
Beginning :— _
SUM AA: |
yaa faa feat attats eaates |
BRaTIIAA s Uta =a ta |
qzuifefautaneaa | aareat faurars “waads Tt
my
wz) ate faa azufaure wzfcta eit ats at |
siafafa We | zs
da
It forms no part of the Maha-bhasya, but a commen
tary on Svaradi-patha.
I t ends :—
HyaAAARTAT At — AQT HAT |
qaHaasarat + aareatl:!|] wa a7
; Seow
4364.
10751. ATARAY: | Balaka-bodhah.
By Narahari.
Substance, country-made paper. 9x3 inches. Folia, 22. Lines, 10
on a page. Character, Nagara of the eighteenth century. Appearance,
discoloured. Incomplete at the end.
Beginning :—
Sirawa aH: |
statcramat eet fafeart urfataaa |
waifautaarata akaesatt: yefeta |
QT UVR TE YARCUTAL |
sufaaaat Bat: WihaAad Yalrea |
| qcutifated aranaty Maaga Wala TAt a |
cufuféaaa aiacat wata + ats AMAT |
TARTAR A WSS Vaasa: |
THISAHRICHAAWM SAT UTAIUT ||
aha UNATSIY AA VaTATHERA |
aTAITaAR We 7 ya aT afaaia |
at Weraquts: amiyaawigqeya |
AGVUTadey WaHataeaar |
ae VATA HeAtiM WAM ATTA |
fanfawfSat: tia wTaae WEA I
aaa aaa qTaaqARMATA |
aqaratquantara ataatal fara |
adie daulatjs weenie wittftera se
watts | uwgniaqmaa aaa fazat 1 |
3A, arr weartrate: ; 12B, aa wivaat; 13A, xta watuaar:
yagtagata ; 13B, warerat:; 14B, ata Saat, Bey RTE Er
ll
i | ( 82 ) |
| ater arey aera: | a
_ The MS. ends abruptly.
1 4365.
if st Le Solely 5925. AISTAA | Aroda-patiram.
| By Sesa.
Substance, country-made paper. 104% inches. Folia, 9. Lines, 14
on a page. Extent in Slokas, 400. Character, Niagara. Date, Samyvat —
1888, Appearance, fresh. Complete. a
Notes on the siittras of Panini.
Beginning =
| SINMAIT Aa: | |
vq act & aaaaatfifa as at = antafa
aati | Aa say ge: yufeaa rare Rte
qa TaAMgtaa tens ATA aTa TEM |
Colophon :— |
afta sttamnantsas: Bara: |
Post Colophon Statement :—
TI aad i Wo Go aX MA fateax
4365A.
893. TSA ATTA Ta: | Yanlugania-siromanih.
By Sesa Krsna Pandita.
For the manuscript see L. 1772 and for the work: see
1.0. Catal. No. 704.
| : It is a subsidiary treatise of the school of the Panini
| grammar, and, not, as Rajendralala says, a gloss. on a
portion of Siromani’s commentary on the Sabda-khanda.
_ Post Colophon : —
SAT HATBYT une | et ware |
Substance, country-made paper. 10x4khinches. Folia,11l. Lines, 11,
12 on a page. Extent in Slokas, 500. Character, Nagara.. Appearance,
old. Complete.
It is a grammatical disquisition which arises in the
following way :—
wma atfa qayat afi aa: carte,
qauity aa: Hal Vaya
qa vein afta + + + wy wammeg@ar aa
frre | fa aout: fafa aad staaqtaad faxquerea fatt
Authorities quoted :—
1B, wey afin; 2A, aera, Raed, TehTa
masta; 3A, wa, wI2a7; 3B, cfaate:; 6B, seca: LOA,
BUT |
4365C.
11164. ~
Substance, country-made paper. 104x4h inches. Folia, marked 5 to
44, of which foll. 8 to 10, 17, 19 to 28, 33 to 36, are missing. Lines, 9
on a page. Besides there are four leaves marked 6, 8, 8, and one not
marked. Character, Nagara.
A commentary on grammar :—
Authorities consulted :—
TA, azrarat; 7B, ara; LILA, are; 14A, afat; 39A,
| TETIATTY |
| 4565D.
111638.
Substance, country-made paper. Folia, marked 4 to 6. lines, 11 on
apage. Character, modern Nagara.
A fragment of commentary on grammat.
Authorities quoted :—
5B, ata2a; 6B, ataaueta |
LATER SCHOOLS OF GRAMMAR.
I. KALAPA. ae
A366.
5654. AT AMAA | Katantra-sittram.
Substance, palm- leaf. 9x2inches. A fragment containing nine leaves.
Lines, 5 on a page. Character, Newari of the thirteenth cont oe
pearance, old and worn-out.
s
"S79 4
Compiled in 69 A.D., at the instance of Satakami
Satavahana. aa
~The MS. contains the Dhatu- -patha of the Katantr
School.
4367.
10668. The Same.
Substance, country-made paper. 1334 inches. Folia, j52, Lines,
5 on a page. Character, Bengali. Date, Saka, 1679.
and discoloured.
The chapter on Krt ends in 38A :-—
aft Aad WS Ue! GATE |
Appearance, old
ed):
The work from the beginning to the end of Krt 18 is
printed in pp. 1 to 210 (with commentaries) of the aces
edition.
After Krt we have the following :—
41B, efa:ofearstast SATE | .
42 RB, afta freq aT jaa BATH |
The end :—
afa WaquRLM MATT) ype
|
Post Colophon :—
WATS YOR RR ute eat lo THEW AG GHA
ATA | :
SUTAUEL Za: aeaqrtaqi wleraatse Sa-
wah: ean a) -weanfate |
4368.
10397. The Same.
Substance, country-made paper. 10 6 inches. Folia, 1 to 10, 34 to
43. Lines,11 ona page. Character, modern Niagara. Appearance, fresh.
A fragment.
fy?
Contains the commentary of Durga-Simha also.
4369.
SO71. Lhe Same.
I. Three old palm-leaves, containing the beginning
of Kalipa-vyakarana written in old Newari, with colo-
phon in the third leaf xfs aait aaa: aga: ate AATH |
. II, Along with them, theré is another palm-leat,
containing stanzas marked 5 to 8, with_ the colophon
kia Uae URL Hag |
4370.
The Same here called.
10419. RAT TYTHTUA | Kalapa-vyakaranam.
With Durga-Simha’s Vriti.
Substance, country-made paper. 93 x 33 inches. Folia, 38, of which
the 8th and 31st are missing. Lines, § on a page. Character, Nagara
of the eighteenth century. Appearance, old and discoloured.
A fragment, containing portions of Karaka and
Samasa. mare" f, reraete
I3A, =ta dit at arf ATT AMATS!: BATH hl
(~ 86 )
43/1.
4488. The Same.
_ Substance, country-made paper. 173}? inches. Sandhi is complet,
in 15 leaves and Krt in 151. Lines, 3 on a page. Character, Bengali of
the nineteenth century. Appearance, fresh.
| 4372.
4407. ° The Same.
(STATAAATM only) -
Substance, country-made yellow paper. 174 inches. Folia, 79
Lines, 4,5 ona page. Character, Bengali of the nineteenth century. Ap.
pearance, fresh. Complete.
4373.
4433. The Same.
(ATATAM ALM only )
Substance, palm-leaf. 1132} inches. Folia, 10s.
page. Character, Newari. Appearance, discoloured.
writing seems to he in a seventeenth century hand.
Lines, 5 ona
Complete. Tho
Colophon :—
afa etifiat cat arene esa: ute: aarety
ASTA.
3637B. The Same.
Krt only.
“.- Substance, country-made paper. 14x4 inehes. . Folia, 1 to 19
Lines, 9 on a page. Character, Bengali of the eighteenth century. Ap: |
. pearance, discoloured.
~
A fragment with the colophon in 8B :-—
sfa ainfiat eat Wa TAA! UTS! HATH
aa sw
( of 4
4375.
177. The Same.
~The manuscript has been described by Dr.. Rajendra-
lala Mittra under No. 513.
Printed at Dacca to the end of the third pada. The
present MS. contains the last, the Taddita-pada.
The MS. is old and decayed in appearance, dated
Saka 1449=1527 A.D.
Post Colophon Statement :—
aqacaAt WH WhawaewAIT
qdeaw etha fafear waa Ba |
Colophon :—
sfa cufefacfeatat araraetaetarat ath ole
atga: ule! HATH |
AATHT BA WATACTAI |
At the end there are four leaves in the same hand-
writing and on the same paper.
AST5BA.
6638B. The Same.
With Durga-Simha’s Vrtiv.
Substance, country-made paper. 11x 54 inches. Folia, 50+49. Lines,
14 on a page. Character, Jaina Nagara. Date, Sarnvat, 1820. Appear-.
ance, fresh.
It contains the chapters on Akhyata (complete in 50
leaves), each separately paged.
_Colophons : oo
sfa chifstai Saratea HSA! ATS! SATH: i
o Mal WS Ue! AAA | 3
¢ 8 )
Post Colophon :— Age
a wad! aeaT fat sera) aq (the
~Sono%. ehronogram effaced) faa qsee ayaa Bay
ee Sates AeAAayT cifeatafaare tose, ade Ze. Se
So 6 ITUTE-Farac ape feTH TATE aay
| STR rest Cra Tatra Ferner aT SP ae ere Tora TT
o Sttterigutiarqaia afagq az: dafanteaaariay
freq =ataq ura PraraeTe Raa aa awestaiy
Me | Ww Baa | ,
qed uaa, etc. wu, etc., etc.
4376. a
7209. ATS ATART | Katantra-vytti-panjika,
By Trilocana Dasa.
A commentary on the Vrtti.
Substance, palm- leaf. 1531} inches. Folia, 181. Lines, 3, 4 ona __
page. Extent i in Slokas, 2,900. Character, Bengali. Appearance, old.
Chapters on Declension, Syntax, Samasa, and Tad-
dita.
Printed at Dacca.
Colophon :—
ata ipa wares Fanfare fe
qdea atsa: ule: SaTH:
q
4377. 3 2)
9318. The Same. SS
Substance, country-made paper. 163x4 inches. © Folia, 118. °Lines,
Gon 2 Lee Character, Bengali. Date; Saka 1714. Appearance,
fresh, ee =r S |
From the third pada to the end of the Taddita-pada.
( 89 )
“nice Ttibeguns :— u |
Poe Joo% ae wat aara | eT
auistristafa | afidatetasdsrrty TSaeY
oc ager ada aaraftedaaer wa aniaect wa |
EM aufafa Std aaa frames wat: RCTS TL A
aE TTA Tet eaAAdae ws UTE |
59A, xfa faataactanatal niaaafaufearat ata age
@aAla! US! SATA |
The Last Colophon :—
afa faataacteanarat aaa haafearat ata ava
atSsaule! HATH: |
Post Colophon :—
- =~ S
Tal Bifrautugagqi wa Bra fata
maria dqzaw faq? wat yatateare |
WH CrA-warg-arta-efedtara (1713) wetatfe4
wataw fast ames ears GF | y |
styasaquieuay aa ufarea aaadq |
saga wg wet aisatearte |
4378.
3313. The Same.
Substance, country-made paper. 164x3} inches. Folia, 142. Lines,
50ona page. Character, Bengali of the eighteenth century. Appearance,
discoloured.
_ The MS. contains Tri-locana’s Pafijika- to the Krt-
pada only.
aa : 4379.
3901. The Same...
- Substance, palm-leaf. 15} 14 inches. ‘Folia, 23 to 112. Many of .
the leaves have lost their marks. Lines, 4on a page. Character, Bengali
12
( 90 ) | "y
e
Written in a neat, small hand. Date, Saka 1551. Appearance, old; worn-
- out, worm-eaten and discoloured. The last two leaves have almost gone
off, specially the last of which only a fourth remains.
The 23rd leaf contains the panjika on the stttra safes
eta aauzm etc., etc., the 13th sittra of the second pada
of the Catustaya. MS. goes to the end of Taddhita-pada.
Colophon :—
kta frataacaaarat aramaetaatsarat athe
atsa: ute: Hare: |
Post Colophon :—
Was | WHET! Quue + + Ro faye | A
4380.
4687. The Same. oir
Substance, country-made paper. 16x34 inches. Folia, 52, ines i
5 on a page. Character, Bengali of the nineteenth centur |
fresh. ‘To the end of the fifth pada of Sandhi.
y: Appearance,
Colophon :— pe
afa faatvaciamarat araraataafsarat gee we
° > = a
; SATA | .
| * 4381.
® | | 7
. co | 4557. The Same with Vritd.
Substance, country-made paper. 164 inches. Contains text com
plete in 55 leaves, Akhy&ta-pafiji, in 77 leaves and Catustaya-pafiji, in 111,
Separately paged. Character, Bengali in a very modern hand. Appear:
ance, fresh. But the written portion is worn off, for which evidently the
ink is responsible, ) ,
( oh )
| 4382.
150. ICOM ETE : | Durga-vakya-prabodhahk.
| ~ By Kula-candra.
Annotation on the commentary on Durga-Simha’s
Vitti commentary of the Kalapa-vyakarana.
The manuscript has been described by Dr. Rajendra-
lala Mittra under No. 515.
Colophon in leaf 33B :—
ata Saas aciaaqaasaaat PSCC ORT ARS ata
aqea TaH: Wis: HATH: | .
4383.
3412. ATAWa SAT | Katantra-candrika.
A commentary on Katantra by Rama-dasa of the
Dirghang? family.
Substance, country-made paper. 174}x3inches. Fola, in two batches,
26+36. Lines, 6 on a page. Extent in Slokas, 2,000+ 2,600. Character,
Bengali. Saka, 1645. Appearance, discoloured, old and worn-out. To
the end of the eighth pada.
16A of the first batch, =fa Sarg iqraaya st hate
Wa asta aH at Raaatsata ats AST TAH: ATs:
HTH: ||
The Radhiya brahmanas derive their surnames from
06 villages in which they originally settled in the 8th or
9th century A.D. But three more villages give their
names to these brahmanas. They-are regarded as doubt-
ful. Dirghangi is one of the three.
«248, xfa cracteamatiaat aura tea aa alta aqea feata:
WI ATH |
The Last Colophon :---
36 of the second batch, FateTasse! UTS! BATH? I
( 92) )
The Post Colophon Statement :—
nie cbse cede angal TISTsa Gaanfaca |
WRT 28a Fk BETS | RATT utacea aa |
ial fr st batch begins :—
way wag astemetattaar | is
aaa twat ATT UAH fasta | ° Ha
“i WY Aaa fammaeqy 7 oq wHTa
a aaifag weather aaraqarat |
_ awa wai Saag. Rata
aerg agg faa fafaarte (2)
alg teat wtcafa ufanizata xfs aISatat: ..
seesceoersovons TAHIR? | KITES |
The second batch ends :—-
qHaaasiata aTacaaqzaras Tettts geaparel
awaafata 1
4384.
3915. RATATAT: | Kalapa-tattvarnavah,
abn sd, X, By Siromanih. ij
Sibatarices country-made paper. 15x 3} inches. Folia, 54, Lines, 7
on a page. Extent in Slokas, 1,500. Character, Bengali, Date, Saka
1711. Appearance, discoloured. Incomplete at the end.
A commentary on five sections of Krt of the Kalapa
grammar. :
Lt is halead —
yay aka Sa Tia Panacea |
Ria Wetieay vate Wet WATz |
aeypeaaia ataxara = AAA | Stk
HATTA ATA TAR Seay — Ca
= > ATG a aS gia: aq | Ns
Ositst Baat wat AatAaNAtwaa |
HY ALA WE WaIeAMt Ay az auteat: aaa
Ses sone aeatfean afta frafsararai utaureaare
s
( 93)
auatteatefa |
| Raga ales aQ wR wrat-
wa! att qeaufamere ufiwa wWreataE acattata
waste:
It ends thus :— | asks
qq ate ald ate fufafada eae usifa aa-
tefa |
Colophon :—
fudtafoaa aergawMs wea: UTS! SATA |
Post Colophon :—
SAH BTCA | WREST Vor |
Colophons :—
21B, sft wqay waHute: warm; 28A, sfa aa feataute:
wate; 40A, af wie eataure: wara:; 489A, ef we WIM:
SATE: |
4385.
1616. ATAAITINTA | Katantra-parisistam.
Appendix to the same.
By Mahamahopadhyaya Sripati Datta.
Substance, country-made yellow paper. 15x3 inches. Folia, 167.
Lines, 6 on a page. Extent in Slokas, 3,000. Character, Bengali. Date,
Saka 1647. Appearance, old. Complete.
~ Post Colophon :—
eases larafad Ww ATA
aa quegea fe wes |
TATA faa AI
efits wise |
For description of the work see I.O. Catal. Nos. 761
and 762 and L. No. 514. : wi
i. oe )
| hs 4886.
| | ~ 172. The Same.
| ,
;
This manuscript has been described by Dr. Rajendra-
lala Mittra under No. 514. He has noticed a MS of
Katantra-vrtti under No. 345 which Aufrecht registers as
identical with the work under notice. But the former isan
exposition of the Kalapa-stttras by Durga-simha and the
latter a supplement to them by Bitvati-datta.
4336A.
3037. The Same.
Substance, country-made yellow paper. 16} %4 inches. Folia, 16.
Lines, 8 ona page. Character, Bengali in a modern hand.
fresh. A fragment.
Appearance
Tt begins :—
TUTETAA |
aasracteta atatqaad | grey Segeez | qya-
eat BUM Widaiwageaasy wsfa | LUT ALT-
aaa aa A AAA | BWA fradafas verses: |
AS87.
4525. The same with appendices.
A.
Substance, country-made paper. 18x41 inches. Folia, 20. Lines, 6
on a page. Character, Bengali in a very modern hand. Appearance,
fresh. :
| These twenty leaves contain (1) the original giittras
| of Katantra (ending in leaf 17A, =fa A AS Us: Bare),
(2) Siksa suttra (17A, =fa faataaz), (3) Paribhasa and
| Balabala stittras (18A, =fa uuslas TATHTsY), and (4)
Parisista sittra to the end of Nama-prakarana. =#fa aaa-
ufefrs TATRA SATA |
‘Then there are a few lines beginning: sate aa
augeEt and ending eatawan at wHia Sar | |
>
B
The substance and the measure are the same. Folia, 2. Lines, 3 on
a page. Character, Bengali. ‘Two leaves only containing the first 33
sittras of the Katantra-pariSista.
C
ufctrenaye |
A commentary on the Katantra-parisista.
By Gopi-natha Tarkacarya.
Number of leaves, 112. Lines, 6 on a page. The substance, the
measure and the character are the same. To the end of N aima-prakarana.
For the beginning of the commentary see H.P.R.
Vol. I, 224.
Beginning :—
AAT TUVWTT aA: |
at stat yealtaterarararafFarNneeal
HAUMNATATETT WIUALTA STA BA |
athrsatframiactengesaitas: staat
eratat acatfearfeawertattaeaqtea: |
aisa afcanrauifiaafa: aratficratata:
amManawimagiafa: Seatsraraata: |
UUtATS SHYRE AYLATS Law yae?
aaTaTAaE: Bedaqu: atatIagre |
f | q¥ UG eqafsasanaqggramfantematitaataa-
| SAM CURCUMIN CITA THTASAAAARTEAL AA-
aruatn afasear fea feafear eftrrae
Haifa Warefa |
Colophon :— :
| 60A, afa awastyrygra-swaitare-antaefacteat ata
| TACT ATT AATAT |
Then :— |
artaaeag fad grearatirs |
Wat Sle fataart aa-uaat |
( 96 )
vs
112, sf aAthitttarsaataafacfad ofefasrtte ata
aatatata || tyes va: 1
4388.
3897. The Same.
By goer -niitha Tarkacarya, the son of Acarr Yo Se
7 Pagsu-pati by Yojana.
Substance, country-made paper. 19}. 4 inches. Folia, 61 by count-
ing. The leaves are marked up to 49, the rest left unmarked, Lines, 8
on & page. Character, Bengali of the nineteenth century.
Appearance, —
fresh. Incomplete both ends.
A commentary on the Nama-prakarana and Karaka-
prakarana of Sripati Datta’s Katantra- -parisista. The MS.
breaks off abruptly while dealing with the Up
apada-
vibhaktis.
The present MS. containing Nama-prakarana begins :—
Se aa TaN
faa atimaar aecbacgel aates: ates:
aaa vaaifaa: waa a@arty osraa: |
wat Ware: FaAehgat aarta fara ge
watt fi ufsata fafaaaat orate Waar |
Stata, a jaa waey ata utetataataara:
Rasats aga fe aa awa ferme adtswes |
sag | wat tagqureararmearariaaamaat af fagda
fet qarafanatetennas fatetq aueueta ufeaey facarg, a1
nafs faydat ufifrsr fata wifeat | HATA EI
wauataay «xaneuefiat sattwatfaa: frat eegtefa ufetat
vita ufauteaate Zeta Uf<ae faze sas: |
42B, xfa Here searaqufaaqa-asiastarga_sh
qTaaataeantactad ufclesnsts THR CMATe AATHA |
( 97 )
4389.
1613. The Same.
Substance, country-made yellow paper. 14}x3 inches. Folia, 106,
with marks 38 and 39, 63 to 68 written twice, and two additional leaves
after 58. Lines, 7 ona page. Character, Bengali. Appearance, old.
The MS. covers Sandhi-prakarana (fol. 56A) and
Nama-prakarana (lLOGA) only.
_ Post Colophon :—
Ta ALIGN eq Sle Fast |
fafsat aanrara uate Meatfeat
Begins the obverse of LO6A :—
ay ACA WR Waa ae a gatfeat acataat WA aT
qaitcat: ata frreafsarearat afanieaare satfeatearte |
For description see I.O. Catal. No. 763. (p. 202).
4390.
1614. The Same.
Substance, country-made yellow paper. 14}x83 inches. Folia, 126.
Lines, 7 on a page. Character, Bengali. Date, Saka 1617. Appearance,
old.
Satva (ends fol. 67A), Natva (ends fol. 72B) Stri-
prakarana (ends fol. 86B) and Samasa-prakarana (ends
fol. 125A).
Post Colophon :—
| sta aaH afs| que Wate! | GAaTASTS
Oy | waateeataa: | watat wg 7% |
| watt Wes Hat A feta | |
; afmaRaatiefaa WIR waa |
qea fafed Be lad Fura |
geawrae attsarg Aaratanferag |
ant fe faut arat a aay WaT |
( 98 }
qa +tafwat, etc.
i. waves aferta, etc.
— ~ °
aaHad, etc.
auifa feanqaeraafea: ge: |
watzat Seat mitts anemat ara ]
For description see I.O. Catal. No. 764, 765, 766.
SJ 4.391.
3893. HaUAAMaaa Tay
ete Kalapa-tantra-tattva-bodhini.
A commentary on Sripati’s appendix.
By hama-candra.
Substance, country-made paper. 154~x 3} inches. Folia, 56. Lines, —
6 on a page. Extent in Slokas, 1,400.. Character, Bengali. Appearance,
old and discoloured. Incomplete at the end, till the Mayat-pratyaya-
vidhi.
be FE begins :—
@ aat WAITS |
quay slarauetatare
DATA TAA UATE |
aaa FT awmaituat
Fea Hat BtteacaasE: |
surat: ata saat wa tarenf= fafa: |
fagfeaterrata ages aataa: | .
aaiet fasrmigana: oeeatthaay aAGUATIed
ata Wratat: | asta ATTA | aqaite anifaaae :
“ALAAM TC: ese kee ves nee wee
TIARA A-CeIAA EES WER aaagat-
aatauratsaat oF GUTTA AAT AAT TAL Wal
arRuata: frsafautsata witaarat faqtutia dare |
— sk us
——=_
( 99 )
4392.
3449. UETMEPASTATATHT: |
Parisesa-siddhania-ratnankurah.
by Stva-Rama Cakravarti.
Substance, country-made paper. 154x3 inches. Folia, 46. Lines,
7, 8 on a page. Extent in Slokas, 1.840. Character, Bengali of the
eighteenth century. Appearance, discoloured.
Beginning :—
@ aat faftaaien |
STATA |
atateasas(?)aaatsteana-ameat gsyatu: fay
aafant aafty atefanufeatat atfe auity wa
famatet wa. fagdat a ufeferer xfa frei wee
| faxea ufeRtat aretifa ufasrana sBfa |
This is a commentary on the Nama-prakarana of Sri-
pati Datta’s Katantra-parisista.
See I.O. Catal. No. 768.
Colophon _—
ata sifmanaamafifctea ufeitufaeracage
AAUHAM BATHE |
Sivarama Cakravarti, the commentator, seems to have
been the father of Mathurega Vidyalamkara who wrote
a commentary on Amarakosa in A.D. 1666 (1.0. Catal.
No. 968) for students of the school of Supadma. They
belonged to the Sarvanandi Mela. It is curious that while
the father was a student of Kalapa, his son was a student
of Supadma. But it is quite possible in the son of a
Kulina, who generally lived with his uncle on his mother’s
side and followed his profession, being generally quite a
stranger to his father. ; 3
( 100 }
Mathuresa’s genealogy is given up to sixth generation
i in the ascending scale. The sixth is Sarvananda who
i flourished about 1480 when Radhiya brahmanas were
| grouped in 36 Melas for the purposes of marriage.
4393.
(3409. AAITAT, ATAMUTqSre: |
Manorama, Katantra-dhatu-vrttih.
By Ramanatha Rai Gai, son of Vedagarbha Tarkacarya.
Substance, palm-leaf. 17x14 inches. Folia, 100. Lines, 4, 5 on&
page. Extent in Slokas, 2,500. Character, Bengali. Date, Saka 1733. |
Appearance, fresh. Complete. The MS. is kept between two palm-leaf —
covers.
This relates to the chapter on conjugation of Katantra.
It begins :—
aay VOY at awtarla aT aat aa |
aalcal TATATE THT Uff HAT |
urate aaaeatg saat ae fare: |
ar afar wag Ha ahaa ateat |
aiafan cht qaat garter |
fad wade A Weatea F =za: |
mM aaa yaata ofya-qarat
Raita at (AHH STAAHTEST AT |
Sieg ata aa ate at aaa
aaa avataaat wa dt wary (2)
| waa! Bat wa: vetafafad am vers fas
fs: worn afa gat faard aut afwata weedeat
. . wary aay aweay faaaatsiaea afe urate
aefateareres: =| uafa fae ufsatsatale
| Says |
{ 101 )
It ends :—
US YRIT WY WATHATA A TATA “aa:
aa wet wisnt”’ “faqad “efefaoer satay
qiga’ sta are: careatsta yfaawa4n |
Colophon :—
zfa Famtaataratas- ufaqeagga—aiea ara
gelafeatat = aatcarat qraaratgeat gitefaara
QHIAA | AATAT AATLAT |
Rayi-gai is a name for certain Radhiya brahmanas
who settled at Rayi-grama.
Post Colophon :—
WATE VOL RBI UWL WWI
ata caTaTa mal THawZ
atefaantencmana |
WR AA TAWIWIF Al
faut snare cat faa | Stefe wed |
Siqniaea set ute aa) Byes wa |
was atedta etc, ete, sweat@eeaatit
sacaaHI dat USsTH Waa fafeaH | Bete
Wes |
4394.
4720. BSuTfeatha: | Unadi-vritih.
By Sarva-dhara. °
Substance, palm-leaf. 11x 2} inches. Folia, 51, of which the first
is missing. Lines, 6 on a page. Character, old Bengali of the twelfth
century. Appearance, discoloured. Incomplete both ends.
15A, aaucaturfeeat vera: ute:; 33A, STE AE
ufeant feats: ute: |
Aufrecht’s Cat. Cat. Vol. III, registers the name of
Sarvadhara, as a commentator of Durga-Simha’s Akhyata-
vrtti; and here we have his commentary on Unadi of
Katantra.
( 102 )
4395.
| : ~ ~§580. CAAT CATATU | Sultra-sara-vyakaranam.
Being an abstract of Kalapa.
Substance, palm-leaf. 14413 inches. Tolia, 42.° Lines, 5° ontaj page.
Extent in slokas, 1,100. Character, Odiya. Appearance, good. Complete.
The leaves are numbered only up to the 32nd.
The grammar begins :—
STU aa: | afawAe |
Wag arat fags: vata
aay arat Teas faut: |
qaltfae wat
qe WW VT QaAleq |
fast amaarana: |
TOT ARIZA: | ATA WTSMT Ee 1, ete., ete.
LB, =ta gaat want” ; 2B, aft eat yafaureate;
3A, qaat agaaty; 3B, eft aaa faatafe:; 4a, <fa
aaa fauraaty:; 7A, aft quar qeta: utagst ; SB, xfa
qaae aurea wear; LOB, « agate ufag:; LLA, o asa
aifagt ; 11B, ¢ agate ateafag: ; 17B, o sé} uduea:
ISB, ¢ aradueufmat; 19B, © stem: aatat; 20B, © aera
neuter; Q1A, fa @aete Heres: HATH; 21B, o aereqaqal
qmiaifentaat; 224A, ¢ featteufaat; 24A, o qetfeufrar SATHT
24B, o utes: aATAt ; 25A, aatfeufsat aatat; 25B, ° aqrem
qatar; 26A, ° Wetea?. HaTaT; Z2TA, o aaautaat; 28A, o
[a |fataarat awatat; 29A, ¢ fam-ufeat; 298, fa waa
aauaa: aaa ; 380A, ° uzayaewt; 31B, o atanmauter |
| Colophons in the unnumbered leaves :—
-o mga; o tremHNtMA; ° Heute want;
( 103 )
o wgaifs aatatfr; o wtyaat aarar: ° RRR TRCU
way; oo WATasyaturs:; o aaagufHat; »° asatfeutqar;
oMaTaginal AHA; «0° afsagtwar aarAl | BWATAYSa AT |
Post Colophon Statement :—
attegiaewtag tag: ana fateatad wana |
4396.
~
5648. UeqTeaa | Pada-rohanam.
~
By Utsavua-kiriti.
Substance, palm-leaf. 123% 1} inches. Folia, 42 by counting. They
are marked 3, 4, 5, 13, 28, 47, 48, 67, 69, 71, 73, 75, 76, 77, 78, 80, 81, S82,
83, 84, 85, 86, 88, 89, 90, 91, 92, 93, 94, 95, 96, 100, 101, 102, 103, 104, 109,
110, 111, 112, 113, 114. Character, old Newari.
A fragment of a hitherto unknown grammar of the
school of Katantra, relating to conjugation.
85B, xauraatwaatfiadt uedtead we: udafawatem ;
- -—~ = S Es
90B, o aya: caeTtfaaatem:: 92A, o aga: araifaamew;
98B, © avant ufaetifanatem:: 944A, © aga: fRatfauta-
frames: |
4397.
¢ a
4789. TeaAn HAT | Pada-stirya-prakriya.
By Mahamahopadhyaya Saranga.
Substance, palm-leaf. 12x13 inches. Folia, 129. Lines, 5 on a
page. Character, Newari of the sixteenth century. Appearance, old and
discoloured. Incomplete at the end.
See Nep. Cat. Vol. I, p. 114. Where Saranga and
Utsava-kirtti have been put in a compound word implying
that they may be one and the same person. The previous
_work is a shorter recension of the present work.
It begins :—
@* Ta: Seas |
f | qT WHAGEAT Ha: leMaresgaTe |
— ymant aaAweaitat wears ataars tt (2)
( 104 )
amfegiqequctusiines saat faxes
aataateaale: AeATHIAT AT TITAS: |
CA AMAM TAM aaqayM: Waa 7 WT
WIV: vafarcgat wrasse vat |
WAPATO AAG WTATE
Wea Aatatat frees wares 9
qa Braga eared aaasty = |
aay [for aq aawrarsatea: | PaRy |
ata fara 29: |
taataeqatts aaetrasuca p
wefa ueeaisd eae ara: |
aat Stitt tata eva farthest usa |
ae faufaeat warfare aa ees: ay wart |
xaite | | :
gfaat— wR wt— «fa fastorara weg trcArararey |
| | Wee taat usta raRTE: we: i
we, | fa festa g cheats gee
otaatat [ a jeetifana: aaa: |
GE ws ata fastonae wasfachearai qz-
eantaaraaritte aaa |
4398.
4A783A. The Same.
Substance, palm-leaf. 12x2}inches. Folia, 175, of which the follow-
ing leaves are missing: 2, 55, 64, 65, 67, 68, 77 to 84, 96, 105, 106, 117;
121, 123, 146, 147, 150, 152, 154, 155, 157, 170 to 174. There are also 13
leaves, without leaf-marks. Character, Newari.
70B, afta fasaeyuraa-taetaarat aeay met faux
SATA
( 105 )
Tn leaf 112A, we have the following colophon :—
afa fasttorgta-ary facta weeartaarararatt-
faa: | |
her After which there is no more colophon in the num-
ered leaves. :
70B, xfa fasersturga-facfarat weet weat fafa
watz:
d
The first leaf unmarked contains the following colo-
Phon :— |
fasttiargiraa-faefrarat veqemtaarat -atte-
faad SATHE |
No more colophon after that. -
4399,
10517. faareiea: | Vidyananda.
By V ijayananda.
- (Called also Katantrottara or Siddhananda by Aufrecht wm
his Cat. Cat. Vol. If.)
Substance, country-made paper. 114x4 inches. Two batches fof
leaves: I contains leaves 42 to 70; II, 45to 59. Of the first batch fol. 59 is
Missing and of the second batch foll. 54, 56, 58 and there are three stray
leaves belonging to the same manuscript. Lines, 8, 9 on a page. Charac-
ter, Nagara of{the fifteenth century. Appearance, discoloured.
A very rare work.
The first batch contains Vidyananda’s commentary
on Durga-tika on the 40th sutra of the portion of the work
from 2nd pada to the end of the 3rd pada of the Nama-
prakarana. . :
The second batch contains up to 35th sutra of the
Same prakarana. The three stray leaves contain com-
p: mentary on the first three sitras of the Samasa in the
game.
14
( 106 )
OLA, ata atfasarmatactaa faaim<mecarfe fedic: ute:
SATA: I
AHA GSERIISHAT: |
I[n a later hand :—
ata Satu Sqat tan faa" |
4400,
4721. qeRTCTHA | Sat-karakam.
With a commentary.
Substance, palm-leaf. 122 inches. Folia, 21, of which 15, 16 and |
19 are missing, while two leaves are marked 17. Lines, 5 on a page.
Character, Newari of the thirteenth century. Appearance, old, discoloured _
and worm-eaten. Incomplete at end.
A set of 14 couplets, relating to Karaka and belong- —
ing to the school of Katantra. See T.O. Catal. Nos. 785
and 786, the former ascribes it to Vallabhananda and the
latter to Vahasa Nandin. But in East Bengal, where it is
still being taught, it is known to be a work of Rabhasa, __
and under that name he is often quoted in J umara Nan--—
din’s Vritt and in other grammars.
The mangalacarana verse is to be found on the ob-
verse of the first leaf, and there twice, one in the hand of
the original writer and the other in a later hand. The
verse praises Buddha: 2y atcaaaa, etc.
4401.
fi, 3814. The Same.
Substance, country-made paper. 184.x 4} inches. Folia, 17, Lines,
8 on a page. Extent in Slokas, 470. Character, Bengali of the seven-
teenth century. Appearance, discoloured and mouse-eaten in the middle.
Complete.
Colophon :—
ata cueatatactae weary aatAa |
( 107 }
Post Colophon :—
saqatowmam eataem wanteeq | wifaew
gatéa aaa, ete., ete.
Often noticed and well known.
4402,
4684. AVS | Arn-manjarr.
By Siva-Rama-dasa Sarman.
Substance, country-made yellow paper. 16x34 inches. Folia, ~ 6.
; Lines, 6 on a page. Extent in Slokas, 150. Character, Bengali of the
nineteenth century. Appearance, fresh. Complete,
Colophon :— 3
afa awa aas_-sitwacamet BARet
SATA |
For the work see I.0. Catal. No. 784. The Karikas,
numbering 18, are accompanied with a commentary most
likely by the author himself. The Karikas end in 2A and
the commentary begins. It belongs to the school of
Katantra.
4403.
3379. The Same.
Substance, country-made paper. 1644 inches. Folia, 6.. Lines, 6
on a page. Extent in Slokas, 106. Character, Bengali of the early nine-
teenth century. Appearance, fresh. Complete.
A work on verbal suffixes of the Katantra school.
See I.O. Catal. No. 784. |
The authorities quoted are :—
Sripati, Durgasinha, Bhasyakara, Narasimha Cakra-
varti, Hema-kara, Durga-mata, Parisista-kara, Sundara- _
kaviraja, Jadu-natha, Kamalaksa Cakravarti.
Colophon :—
sf wemdtargrstfaacrmugretaetiat a
Set SAAT |
108 } 3
——
py : ; 4404,
ta ée oo as
3428. Weary aifaat | Sabda-sidhya-prabodhini,
i, : - By Rama-natha Cakra-varti.
i Substance, country-made paper. 154 inches. Folia, 37. Lines, 10
on a page. Extent in Slokas, 1,180. Character, Bengali. Date, B.S. —
1266. Appearance, discoloured. Complete.
se
Colophon :— ve
ror + ([Rjamramahifactea: wecengyatm
GHIA: |
Post Colophon :—
AAAS: UR STATS
Tee aut fafeafafa |
In a different hand :—
WA NE AR WT << BTA AR Alam | Bye Blea
See H.P.R. No. 355, Vol. f. |
A work on declension of the Katantra school.
44044,
3885. The Same.
By Rama-nitha Cakravarts.
Substance, palm-leaf. 161} inches. Folia, 89, Lines, 2 to 4 on
a page. Extent in Slokas, 1,300. Character, Bengali of the early nine-
teenth century. Appearance, fresh. :
See L. 1129.
Colophon :—
| ala cara fife hammangqudim ear: |
4405,
3663. areata: | Sara-nirnayah.
By fama-kanta Cakra-varti, son of Madhu-sadana
Tarka-vagisa.
Substance, country-made paper. 14x 8 inches. Folia, 23. Lines, 7
onapage. Extent in Slokas, 400. Character, Bengali of the- eighteenth
century. Appearance, old and discoloured. Complete. ;
7.
"
( 109 )
For a description of the work see H.P.R. I, 4038.
The commentators of kalapa often quote Sttras from
other Vyakarana such as Panini. Ramakanta explains
with examples these foreign Sitras.
4405A,
66198. @ATawaea-sht |
| AKatantra-satra with vrttth.
Substance, country-made paper. 11444 inches. Folia, 54. Lines,
llona page. Character, Naigara by a modern hand. Appearance, dis-
coloured,
The MS. is bound with two others.
Foll. 1-6 contain the chapter on Krdanta of the
_ Katantra siittras, ending abruptly in the sixth pada.
Foll. 7-22 (marked by me with Bengali numerals in
continuation to the above) contain the section on Taddhita
with Durga-Simha’s vrtticommentary. This portion begins
in the middle of a sentence on the suffix farm and goes to
the end of the chapter in fol. 22A.
The rest contains a commentary on the Akhyata
section of the Katantra stittras, ending abruptly in the
middle of the commentary on the 67th siittra.
- The commentary begins :—
ay yxeuatfa | sata artis. wate wr-
adits uxmuceath uate |
ig VARARUCTI.
; 4406.
5896. ATCTaaqaas: Vararu ca-Samgrahah.
With commentary Wafaaa: Prayoga-vivekah.
Substance, country-made paper. 1144 inches. Folia, 21. Tines,
8 on a page. Extent in dlokas, 560. Character, Nagara. Date, Samvat
1680. Appearance, old. Complete.
A practical grammar in three patalas, and 26 karilas
by Vararuci, the first, treating of Karaka, the second, and
the third Tinanta and Krdanta of Saméasa and Taddhita.
Published in the Trivendram Sanskrit series by T. Ganapati
Sastri (who thinks the author to be one of the “Nine
Gems” of the court of Vikramaditya) with Narayana’s
commentary Dipa-prabha. This MS. contains an annon-
ymous commentary entitled Prayoga-viveka,.
Beginning :— ™
BTM AA: |
qaiatassat Sq Sa AreHaAtiza: |
aaa astay Veraaifantat ga:
4A, sta qeataaa catatateae wea: gear: |
| aq afaatuteaatufeaat qara: fara
aq BVsSaR HaValsaatl al Gaypeq |
aaltetgataead F watetsaraat: |
| q UF watuaqaiq yaaa: |
| ee AA ATTA AR SHG
aisl ear: davies antag wa: |
frattanatia qaqa a fet |
as AUT, etc., etc.
7B, fa waTaaama |
ay ulTnddtafsqananyqaa |
ST RS hy ee ey
( 11 5
13B, efa uainfaas fedta ues |
Last Colophon :—
afa uainfaas areas cata: wes |
Post Colophon Statement :—
ataaasat safe dad ydso FAT AS RANI
semi gel osadtaaadte oarilai: «= aaa
aa ANAT |
Three more works are also attributed to Vararuci:
(1) Vararuca (Jyotisa), (2) Vararuca (Lexicon), and
(3) Prakrta-prakaSa. :
4407.
4857. The same with commentary usu tere |
Substance, palm-leaf. 122 inches. Folia, 45, of which the following
leaves are missing: 16th, 40th and 44th. Lines, 6 ona page. Extent in
Slokas, 1,000. Character, Newari of the fourteenth century. The leaves
are marked both with the letter and the figure numerals. Appearance, old, ‘
discoloured and damaged. The leaves marked 10 and 41 to 45, the last
have lost about a third, the 39th and the 15th about a half, and the Sth
about three-fourths.
|
Beginning :—
\g* AAT AGATA |
panfasat Std Se Hremafea | oh
aeq asfaat Ret satfaafaut wa |
© as vgfae adit ara eafad wad |
au fefad ta aaeri faut waa |.
saftey fear Sawararcasaqfast |
. moifa Hea wea TTA |
The same karikaés with another anonymous comment-
ary entitled Sambandha-siddhi.
OB, sfa aaafasl arcane: aare;
ARAIRUAMITT Aaa BatTaquaafaaa: | ay
ats! Gata: Hautzsitautaat wa: afa |
16A, cam aaa TATA CA MTS BRATA:? (Taddhita), |
295, safa aaafearaiferes: earn: |
36A, Safasoaia: |
Then comes Krt-prayoga with which the work comes)
to an end.
Last Colophon :—
AAAS Baafasg rata sfa |
atafcaat (the author’s name is lost in the lacuna).
7 fazmrga UWA |
‘Bart ant stat AAatat Wawa: |
Waa Aq |
There is a stray leaf with this MS. bearing the date —
a VOS ala € Seuafta |
44.08. |
4774. The same here called DER RIES EC! | Pr ayoqa-miukhant |
Substance, palm-leaf. 1231} inches. Folia, 62, of which the fol. a
lowing leaves are missing: 1, 3, 52 to 61. Lines, 4, 5 on a page. Es: ,
tent in Slokas, 1,200. Character, Maithila. Appearance, discoloured
and damaged.
The same karikaés with a third anonymous com
mentary.
14A, watrg@ aicades: ware; 25A, xf earauge: aan:
41B, =fa vairga vateeafseatqu]es: warn: ; 4683, vafaggatt |
fasuatnatuata aufa aagatwafa + +
The last chapter deals with Krt, although the colo-
phon, quoted below, erroneously puts it as. Tin-patala,
fataraas |
aad | Ta Re FAA Ted TAA: Sqcufaata
uUfaat | xta yatrge@ faguca: aata: |
staardtatutcatata |
¢ Fie 5
4409.
10750. The Same.
Substance, Nepaleso paper. 94x34 inches. Folia, 39. Lines, 10 on
& page. Extent in Slokas, 950. Character, Newari of the eighteenth
century. Appearance, old and discoloured.
Beginning :—
- ¢
ef TA GAA |
frraeaarsag ata -waaTeg |
Tey Ba Tad WMA |
TNA wat A Sa Tresarfea: |
waa ystaylt] Veraa fuer wi |
IZA, sft yatnage arcaqed aM) RMaATedafHals
WarayeTAgra aera: | ‘
20B, aft vata saraues: warm) aaraucaatauta
wata afsaqeuangqaufasta: |
31A, aft uainEe afsauea: wate: | afta urmtaae fal S]
vat qafaeaa: |
356A, fasainatiare eanfa amaafirerera: |
36A, Sat Fasathaa: aa gel fers (Aaua)atlas
RITA: HUT | : |
End :—
TYATMIATS watalat wefswa: }
WUT LEaTS TAG wa az
ata wa: uf<etarfeaaa |
ARed WATAGea atgayeun fagen lauer|] zfa wAqueut
frafaat: |
Last Colophon :—
sfa yatrqe: warn: |
15
>
y ate }
4410.
8515. A commentary on the same.
Substance, country-made paper. 134} inches. Folia, 20. Lines,
llonapage. Extent in Slokas, 650. Character, Nagara of the nineteen h
century. Appearance, old and worm-eaten. Complete. ’
The text Prayoga-samgraha is a grammatical work
by Vararuci. ‘This is a commentary on the same. i
Beginning :— |
Relat Tawa aeatatactaarai feaemqea | i
yaatasecate 1) weal at aera SI
fasta asweat Wadm anfea: yaaa: eae Aa | Te
samt fe sami aa awa fHafatad 3a BUG
faa: | a
Hind :—
sue Wenasta aaret vuaqatfa requ
AQUA AI AMA FT arg aw aata
wata we HAA He FATA | f
Colophon :—
sta uatneaSeaer. VAIN ‘¥
Vararuci wrote 26 karikas which were very popular
and very useful. Every centre of learning had a com-
mentary on them. Most of the commentaries are without
the names of their authors.
CANDRA.
4411.
3823. ATRAITHCA q | Candra-vyakaranam.
Substance, palm-leaf. 11x2 inches, Folia, 41. Lines, 6 on a page.
Extent in Slokas, 900. Character, old Newari. Appearance, fresh
N.S. 476=A.D. 1356 A.D. Complete.
Colophon :—
GHUHLM AVS: BATH: |
Post Colophon :—
waq sod Wet Jae saat sala
CTs hast -qaage-yeaugiasisatsaeregey = fasta
Usa |
aaautgq tufea HIT
qa Wie Yfaa: aaa |
+ + + 4+
analy wath: aa |
aitlaeretreary Sidise fateaa |
Candra-gomi takes or paraphrases the Sittras of
Panini, expunges the Vedic Suttras and Sittras that were
notin much-use. He divides the Suttras into 6 adhyayas
of 4 padas each. See p. 249 of the J.A.S.B. 1893.
This is to be differentiated from the Candra Vyakarana
by Candra-cirya mentioned in the Raja-tarangini L. 176
and in the Vakya-padiya II. 489 and also from the Sasaka
Vyakarana, mentioned in Catal. No. 4415. Mallinatha and
Daksinavartta-natha both quote a sttra from Candra’s
Vyakarana namely “fastat at”. But the present work
does not contain that Sttra. It seems to be the work of
( 116 )
a Buddhist Pandit named Candra Gomi who was bor
according to Pag-Sam-Zom-Zam in the Varendra country
and wrote his work at Candra-dvipa in the 4th or 5th
Century A.D. The word Gomi means a class of Buddhist —
upasakas.
For the text and Ananda Datta’s commentary, see |
Bendal Cam. Cat. pp. 157, 158, 180, 181, 182 and my
Nep. Cat. pp. 29, 69, 75.
44192.
9996. The Same.
A.
Five leaves, numbered 2, 22, 24, 34. 35, containing
suttras only, with a colophon in leaf 34B. asa yua
Ute: GHA: |
| B.
Six leaves numbered 14 to 19, in letter numerals, of
a commentary on the Candra-vyakarana.
C.
T'wo leaves of a commentary on the game. One on
Samasa and the other on Taddhita.
From 1 to 10 leaves with 2 and 3 missing.
4413,
5645. STSRATACMTAT |
A commentary on Candra-vyakarana.
By Ratna-matt.
Substance, palm-leaf. 13423 inches. Folia, I. 1 in 30 leaves with.
2, 3 and 28 missing, incomplete at the end. I. 2 in leaves marked from
10 to 31 with 16, 18, 26 and 29 missing and with six leaves without mark:
I. 3,10 leaves. Lines, 8 on a page. Character, Bengali of the eleventh
century. Appearance, old and broken.
We cannot give the beginning of the work in full, as
of the first leaf, about a fourth is lost at the end.
q
)
; .
( 17 3
Beginning :—
THAIASTETAUTE | |
qa | wad freqaat fawarga aufa atage-
fara wad! aradasquead afuaeegd zfa
BTA | |
Col. I. 1 is wanting.
Col. I. 2. wry aaa fracaatanai Aa weAyTTE
facta: ate: SATA |
Col. I. 3. at graced <aqafanarat ufsarat same Zatz:
Uk: HATH: |
The commentary appears to be unique.
CANGU.
4414.
1751. Teta: | cig ag WHA :
With tts commentary ( wareatyat ( ?) ) in tripatha form.
Substance, country-made paper. 10x 4% inches. -Folia, 11, GCharac-
ter, Nagara. Samvat, 1819. Appearance old.
The work is called Vaiyakarana-jivatu. The author |
_ was evidently a Buddhist and a Kayastha. See Cat. Cat.
613B and L. 2857. It is complete in 56 karikas.
The text in sixty karikas begins :—
aut aetaat Aa wife seas ATT |
QUA TMH AAAS atfas | @ Il
aah ATPUAINS WATT atafaeag: |
faygsate aqttaamiatcrres: | 2 |
aqcat Toy aa facet cumin aq |
THT THM UA TTT: | 2 |
| “ aye? TSM GeaTe ofa fafa: |
ia | Re AIAG faawatiaara | 8 p
ateay farted ata afear: |
aalat A HITS A GH TAT aa: yw |
Lind :— =
| cravat ofa fasat ast ateaqaga: |
gi weatsyate wet Mla a ATRafa cutta | ve |
aaa HLH Dee UTS WIA ars az |
au afeat SS eararaarar afi 4
Colophon :—
ata aigeta Sarat |
i ie
The commentary begins :—
The commentator tries to explain away the Buddhism
of the author :—
mana fadtawaata fersraeufaraata aTyeTat
aneeaat suvetaafa mate |. wee eee tee nes
aq famdiat faeta anaeaat 4 qaqa Wa AT
RURVNseqat a at aaa aura qe gatafa fratge
Saat fay wa ana: are wa ate afwta wa
yaifzta wwa ary wa qwumfeaqufaga aay Aa
qua: anamet Faq wa) saat Faatat seta
ertfctia ape ww. nee ee ee Seo
cy sm aisuaeaafitaat teats:
qrTataat. ...
. age gra zfa fanaa quam
MAGPIE ok eee ee STA Sqarat TisTATEt
AAA AGUA Lea ATSGAIAT oo. ee
The end of the commentary :—
safagua xfa afd ware avd aria %fa
Rea: we: festa fare) ve | | efa ayeTeaat aaa
Sa: | aay ears Sarat fas wa atqua writs
aan wife Fare wea TateMt AAA
arate aaa afeat + Sad HAS AAMT APS-
art wth ymat wad staat ae Wad Tas
wa cau wuitcuetate alana: Wea TF RAAT
amaifem afar ae at va ates we TH ATy-
feat amewme as wat at AWE AAAS:
° —_—
( 120 )
TH 8S wa asdteraw war ays: eR EE
SIT | We Aarat: AweRe: wart
ST! wa were aaaT serra Y[a]eraq wat
SQ weanfey: Gat accra: quate eaqwq aa: TT
Tata Pe MENT |
Colophon :—
ata wRereaat afedteg: |
Post Colophon :—
fafad aageataaay TMAC IATA |
TAT USVe Ha ahaa set R fad ]
4415,
8923. The Same.
Substance, country-made paper. 123x432
Tripatha form. Date, Samvat 1877.
ance, fresh. Complete.
inches. Folia, 23, In
Character, modern Nagara, Appear-
Complete in 57 verses. The same as L. 2857,
| omits the three Buddhist verses of mangalacarana,
It begins with the 4th verse :—
| afwae fettad attzaanf afear |
f aaTat al wags a Sa? GaAaT aa: |
VR Wels Aga: yx |
| faye eifarate AU Ssaeataa: |
To the end :—
After the last verse given in I. 2857, the MS. has
another verse.
AAU RCH CS UTA mMsaqrs a |
ROd aASates: Wararaarayar afy |
ara |
( 121 )
fa aarereitaea: ate: wee sanfe qarafitte ageritar
TN wr | aq (sso WITH (ose ufafafed cay UNT TAT |
ana aa afaqueafat |
The end of the tzka :—
User ware ust att awa cfs
Hest WARIS Yas ATs? KATE | WET WS
aaa: ufast wuafal way acesfa ware: qe |
afeauwrat a uafa afeats wwe! ww rart<
ufaa wee: waa: aqea wafa! aust afa Be |
1 get cafe: water: agen waa sarefafa Faq
wafa far a wafa) faee: wa fave: fava atl
ue | agemmna eff ugsead eaqqan aaTtat-
qauitefarafeatuafae(e)anad | aay RATE
qat 2aareifa |
In the commentary to the 56th atfeat we have the
following :—
TITUTIAIAAY aH vat wats aer ayaa TI A
we wangiac Actua wa we Aa Jat yanatsalalea
4416.
5576B. The Same.
Substance, palm-leaf. 15x14 inches, Folia, 22. Lines, 6 on a page.
In tripatha form. Character, Udiya of the early nineteenth century.
Appearance, fresh. Complete.
Colophon :—
ata Faracmsttatat WFAA Vaasa |
Both for the text and the commentary see L. 2857.
16
Pa } ;
4417.
8468.
Substance, country-made paper. 9x3} inches. ‘Three batches ofl
leaves. I, foll. 1 to 32 (of which foll. 25 to 31 are missing). IT, 2 to 22;
Ill, 34 to 79. Lines, 5 to 7 on @ page. Character, Nagara of the seven- “
teenth century. Appearance, discoloured. : 5
I . i
Begins :—
ms
FNMA za: |
gana tata Fart wa alaanaa etc.
It is incomplete, ending :—
ay yy aa || ae dua |
LiL.
Foll. 2-22—Part of Cafiga-vyakarana.
4A, xfa araratem; SA, ata argém; 6B, xfa aReT;
8B, ata arate; 1OA, xfa aatatem: ( warazy: ); xfa reel ,
Stare taaHa atsate a: SATA: |
’ So far we have Karikas of Cangu.
Then follow the comments with illustrations, on the pe
Karikas.
_It ends in the middle of the second case-ending.
Tif.
Foll. 34-79 :—
343, xfa arraigeefachaa HaaeN yaratea: ; 50B, xf
Staeangeretataa fetteraém; 638A, xfa sharae
WpaAa HAAS ect: AS: Fare at farlaai arava: |
Tt ends abruptly :—
ea Vaca Be SatT |
Herein the comm. only is given.
SARASVATA.
4418.
9593. SAAAMAL or ALAA |
Sitra-sapta-sati or Sarasvati-sutram.
Being sittiras (nwmbering 700), revealed by Sarasvate to
_ Anubhiti-svarupacarya.
Substance, country-made paper. 11x6 inches. Folia, 4. Lines, 12
on a page. Extent in Slokas, 70. Character, Nagara. Appearances
tolerable.
To the end of the chapter on Krdanta. Repeatedly
printed.
4419.
9922. The Same.
Substance, country-made paper. 12x65 inches. Folia, 6. Lines, 10
on a page. Extent in Slokas, 64. Character, Niagara. Appearance, old.
Complete.
Colophon :—
sf mane: |) ef Manitedite eat wersat
aaa |
4420.
7888. The Same.
Substance, country-made paper. 94x 1} inches. Folia, 12. Lines, 7
ona page. Character, modern Nagara. Appearance, fresh. Date, Sam-
vat, 1877. |
The leaves are marked on the left hand upper margin,
with the letters &e Ule.
| Colophon :—
ata Hq QAIs! GATH! |
Post Colophon :—
WAT YTOO Blo Wo YR Aol
( 124 )
4421,
9020. The Same.
Substance, country-made paper. 104x423 inches.
10 ona page. Extent in Slokas, 125.
vat, 1798. Old. Complete.
Folia, 7. Lines,
Character, Nagara. Dated, Sam-
Complete in seven leaves. Dated samvat 1798,
Colophon :—
eft waqaat awarar; =fa acaat aut? wzaae-
Wag GAH BAA | |
Post Colophon :—
Teele Ada aaRar waSthsar |
wamataagie: ay AALS | |
WAT Wes Has Est 2 ataritaay fated wad ata
awtiqare |
4422.
3302. Commentary on the same.
Substance, country-made paper.
Zand 1to3. Lines, 8 on a page.
century. Appearance, fresh.
9244 inches. Folia, 1 to 7, 1 to
Character, Nagara of the nineteenth
The set of leaves from 1 to 3 begins :—
sat aceal Ta awe faatec: |
state acs GAQiQI yaaa |
ue fq! as vafafa Sorutat geet afeenitte ayaa
yey vatata Ena |
The set of leaves from 1] to 2 begins :—
stutaersara va: |
wae weeiey cat fet! ay armieauttaas eaae
ueene sat fated ate: qeaas uz vavaut wate |
( 125 )
The set from 1 to 7 begins :—
Sa aa | Aaa urea | oS ata wad anfearte-
Met ateweaaqawmawsrhattate sate |
A 42° A.
7210. The Same. "
Substance, country-made paper. 10x65 inches. Folium, 1. Lines,
15, 10. Character, Jaina Nagara of the nineteenth century. Appear-
ance, fresh,
This leaf contains explanations of the first two Slokas”
of Anubhiti Svarupacarya’s vrtti or Sarasvati-prakriya.
Beginning :—
ATT FENATAT Ud fa |
afwat ¢ Tue 2 Yq vera: 3 uefaae! 8 |
Waa y Vere < Bre daw welTat td |
aft wih aet uefa dfa) ati arf ? yom
WLAIHTA 2 etc., etc.
ata waasetare: ; fa featersetare: |
‘ a Q. :
The scribe’s note: wfw-e}faaate-araara | (There are
four lines more, containing a quotation.)
44228.
11226. TCM AUTHAT | Sarasvata-prakriya.
By Anubhiiti-svarapacarya.
Substance, country-made paper. Five leaves of a grammar marked,
39, 42, 43, 45, 48.
39th leaf Samasa; rest Taddhita. A fragment.
Post Colophon :—
WaT ATYo aH ata Sa ate seat Ua Gate |
/
—— Se
* end.
avagafa | wae selele | aarq wat tusarcaat way wa wt
( 126 )
4423.
11110. The Same.
Being the Sarasvata-sitras together with a commentary. a
By Anubhiti-svarupacarya. "3
Substance, country-made paper. 116 inches. Folia, 43. Lines, 18 ‘
on a page. Character, modern Jaina Niagara. Appearance, fresh. Com- _
plete. .
Last Colophon :— | | %
afa =tautawaqteasaaratay- -sRtargufaereararie .
factaat ateeaatufaa warat | edta aia) |
Bway | ATATS 4a: 1° STtavanra aa: etc..
For an analysis of this grammar see Oxf, 382 and -
see the introduction of Pada-candrika by Govindacarya. ;
Catal. No. 4443. |
4423A.
10876. The Same.
JL
Substance, country-made paper. 105 inches. Folia, 3 to 38. ¥
Lines, 10 on a page. Character, Nagara of the seventeenth century. Ap- @
pearance, discoloured. Incomplete both at the beginning and at the
¥
° ey
The arrangement of chapters is a practical one of
Samjfia, Sandhi, Subanta, Stri-pratyaya, Karaka, Samisa,
in which the MS. comes to an end.
:*
‘©
3A, xfa wate) want qeafefeeaa) <hr at
xia fea sa Gt) EaUl yantaa @euti cya aaa cafe
favafa 1 xfa uarce fed) aa Hat: | anarat awa ue sat uate
aa want THE | AAMT) THT aw Bam xfH qaatq!
FESS a aH | Bewli uta dAey | curadtfa fas 1
t £27)
4494,
11058. The Same.
Substance, country-made paper. 94x65 inches. Folia, 24. Lines, 10,
llona page. Character, modern Nagara. Appearance, fresh.
A mere fragment ending abruptly in the declension
of Tae |
One stray leaf about the declension of the words
ending in & in the masculine gender.
4425,
9910. The Same.
Substance, country-made paper. 12x6 inches. Folia, 7. Lines, 13
onapage. Extent in Slokas, 150. Character, Nagara. Appearance, old.
A fragment. To the end of the chapter on Sandhi
only.
See I.O. Catal. Vol. II. p. 210B. No. 790.
4426,
9170. The Same.
Substance, country-made paper. 12x6 inches. Folia, 7. Lines,
10 on a page. [Extent in slokas, 140. Character, Nagara. Appearance,
tolerable. Incomplete.
This codex contains the chapter on Sandhi of Sarasvati-
prakriya by Anubhiti-svaripa.
4427, |
5585. The Same.
Substance, palm-leaf. 153x1} inches. Folia, 147. Lines, 3,4 ona
page. Cnaracter, Udiya of the eighteenth century. Appearance, good.
To the end of the chapter on Samasa.
vi
2 lee SS
( 128 )
4.42.8.
4729. The Same.
A.
Substance, foolscap paper. 10x35 inches. Folia, 76. Lines, 7 on a
page. Character, modern Jaina Nagara. Appearance, fresh. Date, Sam-
vat, 1938.
7
4
The first chapter complete.
Colophon :—
xt atadenfoaaraeytactaarat «| areal
staat Mea: wATAT | x fa waifeosaste: aiyay(a) |
Post Colophon :— %
waq (eas fadt ara qt edtare ahd a (The _
name is blurred over with ink) utead (The —
name of the place, again, is blurred over with
J
ink) yearTaa Wears: | : i
aew Gan! ete., ete.
B. J
Substance, country-made paper. 115 inches. Folia, 33. Lines,
1] ona page. Character, Jaina Nagara. Date, Samvat, 1839. Appear:
ance, discoloured.
The first chapter complete.
Colophon :—
ata witeqaaaste: |
Post Colophon :—
wag (see aa faal dura wm « fal aa fate
ata wtaur dasa afaat atweaqTaricuyaaeaa |
SsltHatmyTas || ” .
Substance, country-made paper. 113x5 inches. Folia, 27. Lines,
jl ona page. Character, modern Jaina Nagara. Appearance, fresh.
The first chapter complete.
Colophon :—
afa wife: weaatH: |
DD,
Substance, country-made paper. 10}x44 inches. Folia, 10. Lines,
13onapage. Character, Jaina Niagara. Appearance, discoloured.
A fragment of the first chapter.
Colophon :—
ata quart: afaant: |
Substance, country-made paper. 10$x5 inches. Folia, 21. Lines, 9
onapage. Character, modern Jaina Nagara. Appearance, fresh.
The first chapter incomplete.
20B, wa waeqr: Ufa: |
It ends abruptly.
F.
Substance, country-made paper. 11}x5} inches. Folia, 12. Lines,
Jonapage. Character, modern Jaina Nagara. Appearance, discoloured.
A mere fragment of the first chapter.
| LOA, =f agqaate: ; 8, aa feanafey fanaa |
A fragment of the first chapter.
4A 429,
7800. The Same.
Substance, country-made paper. 13%x5}inches. Folia, 23. Lines,
15 on a page. Character, Jaina Nagara of the eighteenth century.
Appearance, discoloured. Incomplete at the end.
Last colophon in the incomplete MS. :—
21B, xareqrantaHat Sarat |
17
. & a0 }
4430.
11109. The Same. i
Substance, country-made paper. 116 inches. Folia, 5. Lines, 18
on apage. Character, modern Nagara. Appearance, fresh. -
A mere fragment containing the beginning of Akhyata:
only.
Beginning :—
ge Ad CIATAATST AA: |
amMiatast ufoum arsai
Gary UnLAsqa"s |
aaatat a faatfeaty
RAAas WMIGATST |
Tara Ha FAST |
See Lz. 771.
4431.
273. The Same.
Substance, country-made paper. 935 inches. Folia, 51. Lines,
11 to 15. Extent in slokas, 1,350. Character, Nagara. Date, Samyat
1784. Appearance, old.
A fragment containing the Akhyata chapter only.
Lind :— :
ATI AMAA ics Tf ATT aqTsy AqUt |
a WratgaMAea ALAS UIALTA |
Colophon :—
saqufeal = larareafacfatat «= aeeaiutearat
| BaAygtAyl AATAT |
Post Colophon :—
daq YOe8 TG ATH SATSATS Aaa Twat saat
aat aa fae et Paral x jai |
( Ig” 4
44.32,
9420. The Same.
Substance, country-made paper. 11x 5}inches. Folia, 31. Lines, 12
on a page. Iixtent in Slokas, 750. Character, Nagara. Date, Samvat
1906. Appearance, old. |
Incomplete, from “ faufaffutaa”’ to the end of the
first half (afsaugfaat) |
Post Colophon :——
fafea mifiecra ysaty aaa atau! aaa
qeog fafa wate safe wateat TAaTET + aR WA
fad cahatens | aw eats
4433.
S178. The Same.
Substance, country-made paper. 10x65 inches. Folia, 45. Lines, 12
on a page. Extent in Slokas, 900. Character, Nagara. Appearance,
tolerable.
This codex contains the chapters on Akhyata and
Krt only.
4434,
9162. The Same.
Substance, country-made paper. 13x6 inches. Folia, 67. Lines,
9 on a page. Extent in Slokas, 1,025. Character, Nagara. Appearance,
tolerable,
It begins thus :—
STAM TA! |
AU aATAt FwSapA WAL AIAMIAAT PASAT |
aife: 3 amiuifarereat urqaat vate |
aaa HFS Tel feats i fraanet |
afar a wat a years mat aa | Zarte |
—— = =
:
}
( 1382 )
a It ends thus :—
il agar aTaTaatSs aaa! afraraawa-
frararenaaass |
Phe Last Colophon runs thus :—
fa stterqufasequgiaiafactaa areata aa
ca facttaata: earat |
4435.
’ 9163. The Same.
5
Substance, country-made paper. 12x65 inches. Folia, 59, Lines, 8 _
on a page. Extent in slokas, 950. Character, Niagara. Date, Samvat —
1913. Appearance, tolerable. st
Colophon :—
afa arcega AaqufHat |
qeqiatsquaife Weaisexz aS area: |
a Heat wut wa utHat wacthaat | 2 |
Bqaté al Sala: RaAlHeE F-g7eE: |
PUAL-ALIATL-A YAM AUE A: | R |
ata arceaqat ufsat aarat |
Post Colophon :—
qua Haq Ye(o)QV ll Wa ArAeraya yaaa
cela TIGIE ufwaa ANAT Baa: |
4436.
9451. The Same.
Substance, country-made paper. 9x4 inches. Folia, 29. Lines, if
onapage. Extent in Slokas, 392. Character, Nagara. Appearance old.
This MS. contains the chapter on Krt of the Sarasvata-
prakriya, the most approved exposition of Sarasvata-
sitras, by Anubhtti-svarupacarya.
é 193° 5
4437.
S761. The Same. }
Substance, country-made paper. 11x5 inches. Folia, 20. Lines,
13 ona page. FExtent in Slokas, 600. Character, Nagara. Dated, Sam-
vat 1865. Fresh. Complete. (Krt only.)
Complete in twenty leaves.
Lt begins :—
faasafatrat faf@araat
wifefa at fafaanafa wa: |
aafast ufccaal a jaraat
acgfe: qaaj saat fra |
Hq WUE | aan waar adware Hae vata |
It ends :—
atau fafefefa aegfa) azar ATALTS |
ATASl CIA: RHATAHE VAC: |
eae FuraaH ufsar waqrtfeat |
AAAS SAMA: RAATHRL PgqT: |
OUTS L-ALTHIZ-AATT-Vlaagy aH: |
Colophon —
fa slanxeaufearat 4 aqufaeeurarefactaarat
ACUI HAT CAAT | AATHIST VleaGat YALA! |
Post Colophon :—
srt: | AraIT (SEY. aThiaatTa wala faut @ TARTS Ri
uaq tfaattu aga fafeare wat favti Re TEA
famad afaqefas faaeoate Ae |
4438.
411. The Same.
Substance, country-made paper. 1045 inches. Folia, 37, the Ist
leaf missing. Lines, 14 on a page. Extent in Slokas, 1,200. Character,
Nagara. Appearance, old.
To the end of the Krdanta chapter.
RV AAA SAS FA ALMA Aieifaufaarr @gatsad faatlad
afaatat] |
4439,
4119. A commentary on the same.
By Puijaraja.
Substance, palm-leaf. 14% 1} inches. Folia, 84 by counting. Lines; —
5 ona page. Character, Udiya of the early eighteenth century. ApPpe® ' ,
ance, oldish. Incomplete at the end. |
Beginning :—
mareatatd 24 sercraradietag |
catiafad ae aad fexcraag |
qa aT SLUT HATS Sle awa |
FAUT FAA AAS wiea@agtacMey Aaa |
ae gaat facmeaaifuaifagy feernmufaneat 7
Wy waa araatiaztefass |
meaaieg Fea Uist atfateeacra |
The leaves are not marked.
Colophons :—
afa stugeiatataarat aieeqactanrsi
aan wasdawaafe fad |
ata slusecia faaerqsargat
aegay carat erayfiwiia: 5
ata vataadisa aSaagreqraqarea: |
faze usu ahaa faefoa: |
afa aleqaarat Bray Stasi |
afta agqratutietia: use |
-afa aremaciat facaaat geen |
ramaatgquat fatedteeua fafear |
( 135 )
afa statatearaa-faaa-ugfafayen
fanegieauamecaretfeaqaar |
Haat etaratfas aquifeer Raga:
ira ufag [fa jufeafraaafeteaua |
sfa qarar wifasr: erfeatafautaa: |
aaa etarat wHLTsia Sforar: fj
sfa wreqaamt facet staseaa |
a@iat eure faufaarats ffs
zfa arceafaeal Sasesia afar |
geet ufa waar fufsaraia fafeer
sfa wifayreiat waarrat fauna |
fagar wHasa araaufaataar |
afa ala wararat Wearat SUAAaT |
Saas WSeUrsa efrat |
alaqay etatat afaatl WAyyAT |
aot Ty wararat ufsata fawfaar |
RATA AAT aiqaiaastufqsaaat |
UHALIAataygal Vaart HlcAIHRcM |
afa qqeweagafaenn ways |
aaa sit wHaRsa Gaatsfateq |
The MS. is complete.
See Fol. No. 81, where it is stated that both the
father and uncle of the author were ministers under
Ghiyasuddin Tuglack. The authority for the statement
_ is, however, not cited there. If the fact is well grounded,
_ the commentator must have lived at the end of the 14th
century and not at the end of the 15th century as Autrecht
thinks as Ghiyasuddin, under whom his father and uncle
served, was on the throne of Delhi from 1321 to 1325 A.D.
|
( 136 )
4440,
8762. The Same.
Substance, country-made paper. 944 inches. Folia, 61. Lines, §
on a page. Extent in Slokas, 900. Character, Nagara. Fresh. Incom: —
plete.
Ending with the declension of the word ATA |
It begins :—
araeatatd aaacraant cf ete.
see I.0. p. 212B, No. 801.
Pufijaraja appears to have been a Srimali Brahmana.
that is, belonging to the section of Brahmanas in Sovth-
west of Jodhpura to which the poets Magha belonged.
He helped sttaa#4% to acquire the kingdom of Malava (?)
In the comm. on the Mafgalacarana Sloka Punjaraja,
- explaining on the word artraay. says that some people
think that the Siatras are new, but this Cannot be true,
for Nagendrapuri says that Sarasvati revealed the Sutras
to Anubhiti.
In leaf 3A, occurs the following :—
aa anual aq ect araiaceat |
Bqufagewsy aw Byes aa: |
fa aisgactesttacdemang |
44404,
6645. The Same.
Substance, foolscap paper. 105 inches. Folia, 167. Lines, 13 on
a page. Extent in slokas, 4175. Character, modern Nagara. Appear-
ance, fresh.
An incomplete commentary on SaraSvata grammar.
The first section only.
( 137 )
Beginning :—
sidiarmaiy aa | awarfarnra | | ;
AA AAI war [a4] ara |
anfaqaaalyra wera uxarmaz |
Aa DYE (S/T wWea(S)qu(a)s cafes |
afauztagiala Brea aAl az: |}
ay SauacaPeaufraraaraar: Slaqufaqearaet
fatufaydaavniad aagty Zaautafenafqanaiay:
UB WACITMTAAAIIR wana G fare h alee@at
ufaat fate: eaqaleaat ; BIeTaa VWTAATIATHATE |
ymayaite |
The pencil note in 79B, siving the -scribe’s name and
the date of copying :—
: 7 a ~ Ss it
@ wae Yaa Aryaqara faut < fafed aat-
Aleta Zo SRTHAWMBie + ++ ah
Colophon :—
afa atatfearal afeactfaant damt(a) |
xfa aTeaadeiarai wanafa: dua |
4441,
10230. arqmetfaat | Sara-pradipika.
Being a commentary on Anubhiti-svarapacarya’s Sarasvata-
prakriya by Jagan-natha. )
Substance, country-made paper. 9ix4 inches. Fragmentary, with
leaves marked 2, 10, 11, 27 to 32, 40, 43 to 46, 48, 50, 63, 100. 111, 112, 114,
119, 120 to 122. Lines, 9 on a page. Character, Nagara. Date, Samvat
1874, Appearance, old and worn out. j
OA, aeuqufaaeqrara: areal sifaat] + + +
TT_RIAARA Fer FAG: etc., etc.
18 | ,
OE
tN
-
gp cea
- y
4185. TATAATS-aTTeaMe haar |
( 138 )
"%
The following colophons are found in the fragment :—
«298, xf ascifarat exrqufaguarm:; 32B, xfa ae
yelfarat eiurdateafasuarm:; 403, waa faRTAT, ;
50B, ce TTATAT TL! ; LOOB, fa s=erauarm ;
The commentary ends :—
Fardty fame Weta WeteaAa |
aad famet Hat areusifuar |
a sata actae: qustaafaat
frastaqagaeated dt aa |
. Went fra eae Ra:
trete geRarastea fa yarfit |
Last Colophon :—
aft stuganarafacfaat doe areyet fiat
aTat aaa AATH |
Post Colophon :—
ATA FAT (S98 TATMAWT VRyo |
4442.
Prabhavatt a commentary by K rsna-natha,
Substance, country-made yellow paper. 163x4 inches. Folia, 11x £66.
Lines, 6, 7 on a page. Character, Bengali in a modern hand. Appear: i
ance, fresh. ‘
I'wo chapters only, ‘Taddhita and Annyate each ‘
separately paged. Taddhita contains 1 | leaves and —
Akhyata 66. “ee
( is 9
Taddhita begins :—
gates He UU] AANA |
aad Atae Wa-afgaw yaraat |
ay atsa efa | cat feawfsa 1
But Taddhita does not actually come to an end in the
llth leaf. There are two leaves more, marked 1 and 2.
In the third line of the first leaf Taddhita comes to an
end :—
ata aaaizhaatyatai surat afgataaaat |
The two leaves contain the following colophons :—
1A, xfa faaraatfa; 2A, xfa ufcarataatfa; 2B, the
last colophon: «fa aaraweatta |
The Panjika of Akhyata begins thus :—
qmMeay anata USstatar garaat |
aa aeaqaisaagien aa faa t
Colophon :—
afta aaa haufsarat yaraatareataaat I
4443.
»
3793. TearexAt Pada-candrika ATLAS TAT |
by Govindacarya.
Substance, country-made paper. 174x32 inches. Folia, 86, of which
2-4 missing. Lines, 8 on a page. Extent in Slokas, 2,700. Character,.
Bengali. Date, Saka 1615. Appearance, discoloured and worn out..
Complete.
Colophon :—
sfa mifacrarafactaat areeqanraetat AATAT |
( 140 }
| Post Colophon :—
| RqAALaMTST Afaa WiHIe
| . garaete ca ufeart ura |
saaty ufeeaqr ureetat Aaa
weaque ya HATA AAT |
The commentary was written in Saka 1521 =1599.
Beginning :— oo
we TAT TUT |
+ + vata auleaeata Haul sai |
ala1am aNatfa a aarta taaiiaae |
warfafas wat stasis at aa |
qe Taras sHAAyIAZaaz |
wtalamaunieay cat wifey |
qIaanlat VaTaTa awa ueafeat |
eaifo wreaaetea-aararet fa Raat |
alceqaial Bama yrar: waatfaar: 4
Vat SMa sa HAMA Balt ware wa I
atat faufaatay aa: eines: as |
CHAT! HILARY WATS afsa ayy
Sy Ulead HRaM: ufeatfaa: |}
ealfa argqaata-aarareifa Hapa |
fates Farad Gat areqr fawiaa |
saraty afiq ari aqateafrat war |
Tea WMT aq aaa AAtfaex: |
,
nara 86ofmeria 8=—_ a arfaufaaarafaxarea
aati frewayrartemyad visa |
fate smvarery ard afaaaar: |
aieatia aatfo saat a fazaterea |
( Tat 3
For another commentary on the same bhasya see
H.P.R., Vol. III, 344.
This contains the Akhyata and Krt sections only.
65A, xfa =Ainifaerarnfacfaarat alreeantwetarat We
APRIL AVATVASTA? Us: |
Post Colophon :-—
fea(?) afafisruetsgae aan Wha
AAT AUTATYS AERA WIA AWLSTAA |
etaa quiteat fafafear statfaetea aT
faenta: veafsafa fafeat ure TET Fe | |
Then begins the Krt section which goes to the end of
the MS.
The date of the composition of the commentary :—
RATE ARGaurTetat
festa qIQHAaTZaAA |
Nifaeatar yeaa
ara aire fara f= wih | 1521 of the Saka Era.
It ends thus :-—
frewafaatata at Ba FAAAATL |
wats: ufatea Heat ueafRaT |
4444,
4021. The Same.
Substance, country-made paper. 174x 3% inches. Folia, 2 to 81.
Lines, 8 ona page. Character, Bengali of the eighteenth century. Ap-
pearance discoloured. Incomplete both ends.
6A, fa stimfaeraiafafearat atewantaetarat weuts-
HTSTUT GA: UTS? |
74A, =fa sttfiermefactarat aceasta wats
ATA ATANRLM WA: UTS |
—""««—i‘<S
‘
Po 1 3 |
a
“
Then come the Samasas. The present MS. goes to.
i the Sasthi Samasa in which it comes abruptly to an end. —
4445, j
ay
4526. The same with the text ATTAANTY l p,
Substance, country-made paper. 13 3+ inches. Folia, Comm.: 128, ?
Text: 93 with the first page missing. Lines, 9 on a page. Character,
Bengali. Date, Saka 1642. Appearance, old. .
126B, xfa | tain ALAA aye tHrar Te
afseatat area waa: uz:
Bhasya Text :—
| 3A, xfa Beqayeal Saal Waa: ute: |
93B, sta atxeqautay ufsart aarat |
Post Colophon :—- f
alagieloram ead @iaey water TBR | J
The Bhasya is an unique work described here for the M
first time.
4446,
8763. aTcaantaat faatfeata: |
Sarasvata-prakriya Tib-adi-vrtti.
Substance, country-made paper. 115 inches. Folia, 43. Lines, 10 a
ona page. Iixtent in Slokas, 850. Character, Nagara. Fresh.
Incomplete. Forty-three leaves only ending with
Maa |
The work begins :— s
wait stad fewer arsat |
Zaly UAL geayg |
alaqatarg taatfeate
AAAaT TUGIATSTE |
ay areqrantaat fread |
( 143 )
4 As the word agt or awty appears at the left hand
_ side of every leaf, the MS. appears to be the second part of
the text of Mahidhara-vrtti of the Sarasvata Vyakarana.
But it generally agrees with Catal. No. 4430.
4446A,
11177. The Same.
Substance, country-made paper. 11X44 inches. Folia, marked 1 to
> i a F
_ 17, of which the second is missing, and 25 to 28. Lines, 7 to 10 on a page.
_ Character, modern Naégara. Appearance, fresh. One stray leaf.
A mere fragment of Sarasvat grammar.
Beginning :—
aererantaa freue | |
alah: seafatqad | | watfe: Georaaat arfeatga sat
vata | stleqerafsa:_agerdat fea ulate |
SIDDHANTA-CANDRIKA.
| 4447, |
9157. fasterafsant | Siddhanta-candrika,
By Ramasrama.
Substance, country-made paper. 12x35 inches. Folia, 97. Lines, 9
on a page. Extent in Slokas, 1,000. Character, Niagara. Date, Samvat
1913. Appearance, old.
This codex contains only the first part, from the
beginning to the end of Taddhita. It seems to be a com-
mentary independent of that of Anubhiati-svarupa on the
Sarasvata grammar.
4448,
7731. Fhe Same.
lL,
Substance, country-made paper. 104} inches. Folia, 33. Lines.
15 on @ page. Character, Nagara of the seventeenth century. Appear:
ance, discoloured.
The work is complete in two ardhas, the first com-
prising the Subanta section; the second the Akhyata
and Krdanta sections. See I.O. Catal. No. 807-810, and
L. 2919. ,
The present manuscript goes up to a portion of the
Akhyata (aa wfaztearertq). The first half ends in fol.
25B :—
afa Sraaasatetrarstt | feeratearsi ade Am!
Taaata: aaa | | wareplaufmat fawais |
(I.
Substance, country-made paper. 10x42 inches. Folia, 39 to 69.
Lines, 11 to 13 on a page. Character, Nagara. Date, Samvat 1878.
Appearance, old, discoloured and pasted.
From “waaay saya” of the Akhyata to the end.
( 145)
Colophon :—
afa Sherasasrsaatfachat faaeraateat |
Post Colophon :—
daq esos cr aihyt fearaaiemt safe ya
swat aq fray weaca farted AWTS |
ITI.
Substance, country-made paper. 104x4% inches. Folia, 32. Lines,
13ona page. Charactor, Juina Niagara. Date, Samvat 1849. Appear-
ance, dicoloured.
The first half complete.
Colophon :—
outs SATE |
Post Colophon :— |
Haq ysee amaafaateat wyarecttaaat FE
Gea fasraufearat Har a fara aaa qr we at
AMAIAy wat wile az Waa TAHA TAT TAT |
Sluts || atew waa, etc., ete.
LY.
Substance, country-made paper. 114x5inches. Folia, 49. Lines,
1l on a page. Character, Jaina Nagara. Date, Samvat 1866. Appear-
ance, fresh. Complete.
The second half complete.
Colophon :—
afe Sloaaersafactaat fagraatyat TATA |
Post Colophon :—
fafa thaafe 9 wyaret dag (ses WTF LOR |
V.
Substance, country-made paper. 104x434 inches. Folia, 10. Lines,
13 on a page. Character, Jaina Nagara. Appearance, discoloured.
A mere fragment going up to fau= |
19
—" ——————
( 146)
i VI.
| Substance, country-made paper. 105 inches. Folia, 22. Lines, 9
onapage. Character, Jaina Nagara: Date, Samvat 1896. Appearance, —
fresh.
Colophon :—
afa Siaaasraafacfear faxgtaafeat aarat | 4
The Krdanta section only.
Post Colophon :—
waq ysee HI AT + Alife Ga aaa ¢ caala
TATA | | SAMs raaygarat alfa wha |
VII.
Substance, country-made paper. 104 x 54 inches, Folia, 41. Lines,
10 on a page. Character, Jaina Nagara of the nineteenth century. Ap-
pearance, discoloured. Complete.
From the beginning to the end of Karaka. 41A —
(line 1), =fa fauaqaf: 1 It ends abruptly in the beginning
of Samasa.
Vit.
Substance, country-made paper. 10% x54 inches. Folia, 29, Lines,
12 ona page. Character, modern Nagara. Appearance, fresh.
‘trom the beginning to Alup Samasa.
IX.
Substance, country-made paper. 1034%x5 inches. Folia, 47 to 103.
Lines, 13 on a page. Character, modern Jaina Nagara. Date, Samvat
1890. Appearance, fresh.
The last half (defective in the beginning: from
ate faute ) |
Last Colophon :—
sta Serre aT ae fae Faas faaraafsarat
eataeta: dunt SATHt |
Post Colophon :—
Haq (eo BT FA ATAAAA Ah ATS A wa wa
ast ¢€ xfaqtat fao sturgusafiares eo Sarah
Staheatgt staetraarafadyererd aa ae watefa
alto WH aRTEY Sate uaa: fafwaxr: |
X.
Substance, country-made paper. 10)x5 inches. Folia, 37. Lines, 13 )
on a page. Character, modern Jaina Nagara. Date, Samvat 1900.
Appearance, fresh.
The first half complete.
Colophon :—
fagtadtyarat gaa eyes |
Post Colophon :—
SRT | RUA) AAT ceoo TA WH LOcy
yaa Bata weaqema awa fast < ae7I
zaqeate fatiad sfacaatta aaterane qusay
SSAMeT GRINS |
an
Substance, country-made paper. 104x5 inches. Folia, 37 to 60:
Lines, 9 on a page. Character, modern Jaina Nagara. |Date, Samvat
1900. Appearance, fresh.
From the last few lines of Curadi to the end of
Akhyata. |
Colophon :—
ata o BTVla! VATE |
Post Colophon :—
WaT doo Ta WH Vody Arataaae sibqAre
ama fast 8 fao safe |
(The name is blurred over with ink.)
Usa AMSTANE Seater CATS |
( 148 )
4449,
7737. The Same.
Substance, country-made paper. 9x4} inches. Folia, 182. Lines,
10 on a page. Character, Nagara. Date, Samvat 1846. Appearance,
discoloured. Complete.
73B, sfa stanmaaarafactaari 4 fasraufearat aa
amnifafa | gamete: aarat |
Last Colophon :—
182B, ufa Aicaaarmafacteat fesse SATA |
Post Colophon :—
fata Gs afe (t aemqaTat araqq vse fafua F
aaln AyaANTAy |
4450.
9182. The Same.
Substance, country-made paper. 12x7inches. Folia, 64. Lines, 10
on a page. Extent in slokas, 1,200. Character, Nagara. Date, Sam:
vat 1892. Appearance, tolerable.
This codex contains only the first part.
See L. 2919, Vol. IX, p. 34.
Post Colophon :—
AM Wa Haq wseR | faat ares afe < |
4451.
8757. The Same.
Substance, country paper. 1144} inches. Folia, 48, of which 32, 3)
are missing. Lines, 9 on a page. Extent in Slokas, 800. Character,
Nagara. Old. Incomplete.
To the end of the chapter on afaa |
( 149 )
The Colophon :—
gfe sAawstarnrenfachart 3=fasrarafsarai
afgacfaat wateeha: aeqat |
Post Colophon :—
GAT cose ASW aa Fe ate fafwa aa, etc.
aire fant fatewi afaret wage aera
weTagecagy smafet fafaafae Gan TAUTA-
faam zaaaifaar qasath qu at qatq | BAAR |
It ends differently from L. 2919.
On leaf 47B occurs the following :—
amgyfagic wateal fed waraiay FEU! TWITTIT AA
To waa TACIT fast aaa) AAAeI_TT yaIZ-
win fg: facttstt are) satay faot aah wate wat
FATat Al aaa cd cafe “ qatar THREE ” sta ata
Wut qrmmaieaia: Tatat yatataarfe| wlagangtant-
qaurat fauqctautat al Batat wate weer wee atari
RAcat at EA ATG RS at Utsraa: cagtonauras: Mla + faze: (?)
Qat aaa acqa Afa fas qrwaaragd aad Scqy Wale ewamy
aaa: wmiufaaeafaaifes | was fraguatat fea toa
fata eeifa fod at quqaa eerie qaa a wfafyaafa qeaqaTaea
zeldtad: | waa| 48 same fed ataayq vata carafata
feat wept: WT aret aqarat waq Fl Fas Atal
wiewnataad: saattafafa ar) cweqUareadaqaaogqaiss
wif + afaa femaw feaue Wea ace waaisa AULA
qteanay fanaa da Cee eee ney Kat fauayat eyaaTG
() ceafaad: watctwaafame: araqe Ste reat ee fears |
aia wan fared wegfa ata mlSardi fe Her ANAT WaT
ae qaaten feta warafeat: etc.
( 150 )
44.52.
7732. The Same.
Substance, country-made paper. 125% inches. Folia, 118, Lines.
9 on a page. Character, Jaina Nagara. Date, Samvat 1906. Appear
ance, fresh.
The second half only.
85B, sfa aaretiufaen rfa aaa aren fae Paras faxta-
atSaat sreqraufwear |
Last Colophon :—
ata werrufHat sfa o SaETS Bary |
Post Colophon :—
Wad (dot WH YOSR fafa wafer aaaqdwt yaa
tjaaquaaa fagtaat | WTI y Se faa |
Fe |
4453.
8758. The Same.
Substance, country paper. 104 x 54 inches. Folia, 14. Lines, 7 on
a page. Extent in Slokas, 200. Character, Nagara. Date, Samvat 1895.
Fresh. Incomplete,
4 fragment, . Leaves 34, 35, 54-57, 60, 61, 68—73.
Lt ends :—
aay azure a aiMttie taanfaue atet fe a aaqate
faa waaifaea at fmaraafaere fen qaqa watcha
aintaaqay aq vite aw frat aea(ajatfaaa at STA Tay (?) Te
Ua Squats | srqul atlases: athe aréifa arta ara: arta
ate are aata zai are aife aif aeafs sata aia
aTiafa spy Sire aitatata TAT may fyrarat we
kta apqaucfa fuaa wiedaewaees | ay yee cifunatece
CIC Boy meqewalaayqsses |
j ( Isl 3}
tf Strarsaraeafachaarat faaradfearsi areata
TATAT |
fund Hsu at yaaa! yu wat! fafa waseT 8
TATat wag (sey feed Tautay waarafe eer | BT |
4454, :
9166. The Same.
Substance, country-made paper. 13x77 inches.
7 on a page. Extent in Slokas, 380. Character, Nagara. Appearance,
tolerable. Incomplete.
Folia, 43. Lines, 6,
4.4.55,
9774. Lhe Same.
13x44 inches. Folia, 40. Lines, 6
Date, Samvat
On &@ page. Jixtent in Slokas, 456. Character, Nagara.
1910. Appearance, tolerable. Incomplete. e
A well-known grammar.
From leaf 85 to the end in leaf 124.
The Last Colophon runs :—
sfa Slomwssafactaarat fesraaiyatat ae
UATH |
SaAASa Ty | BA AAT | WAT Vero |
; 4456.
11108. The Same.
With y commentary called aaituat | Subodhini.
By Sadananda Gani.
Substance, country-made paper. 116 inches. Folia, 12, of which
the second is missing. Lines, 11 on a page. Character, modern Nagara.
Appearance, fresh.
But the first two leaves are mouse-eaten. .
A fragment. Akhyata suffixes only.
( 152 )
i 3 Colophon :— |
| sfa0- Stifearaafearearat = gat fe-areragfaar
aAaTHA |
4457.
9459. The Same.
Substance, country-made paper. 10444 inches. Folia, 39. Lines,
9 ona page. Extent in Slokas, 722. Character, Nagara. Appearance,
tolerable,
A fragment containing only the chapter on Sandhi_
and a portion of the Suvanta chapter.
For the text see L., Vol. [X, No. 2919.
The beginning of the commentary :—
Sagat 7a | | Blac aa: |
UUM WIA AAT WS AAT
fara fe lated wat faactag 1 2 |
fammauaifadt wears arash
agent YOM Tat wT Weary |
yay: Stfaaafafectant aah faarfate:
aise wiawmeraa (?) TWAT Wea Aarat yz |
sinter wtatsra ut aq:
aaa ange: UISHUALAT: | ZB |
SISA MAsaaag saga fasaaqfas |
afgurat + aefaaar starsat wewatedsn | 3 |
Slant wharduarepT: PATCH IS fAAAITAr: |
Stave fad fe tat wade yeat ach |
aa fe aat faaaoatsaaagfaaraqaawata |
Tet aaaanta: ate aatfa chi quai gaifaata | |
( 153)
oyet Gea uy a ayanracatatafa fuser
qui) | sartte |
4A457A,
7319. The Same.
Substance, country-made paper. 10x42 inches. Folia, 17. Lines,
ll on a page. Character, modern Jaina Nagara. Appearance, fresh.
Fol]. 1 to 12 are written in one hand the rest in a second hand.
There is a commentary on the Sarasvati-suttra, entitl-
ed Siddhanta-candrika by Ramacandrasrama. Subodhini
isa commentary on that commentary.
The present MS. is a mere fragment of the sub-
commentary. It treats of Sanskrit roots.
Beginning :—
ge FA: TY NMBA VITA HAUTE |
wy auat y aailaiar wa araaaat frat aaa
=atax alaua etc., ete.
kind :— .
fesradfaarafacreaa gattsat |
frtarquatera Beara fateaat |X I
dfaantar gaituai qirawafaat |
agaufaat seqrg+ui faa aat | R |!
qaiiazas fe animate haa |
aersag ofrat arafaentieas NR
Colophon :—
sfa ufaaeticanara fastadfeatatet Batter
WAU VAfraTAd | |
For description of the first half of Subodhini see
L. 2911 from which Sadananda appears to be a Jaina
of the school of Kharatara.
20
( 154 )
4458.
8760. aaetfaar (fasraafearare )
Tattva-dipika (Siddhanta-candrika-vyakhya.)
By Lokesakara, son of Ksemankara and grandson
of Ramakara.
‘
9 Substance, country paper. _13%*5 inches, Folia, 107. Lines, 12 on
& page. Extent in Slokas, 3,700. Character, Nagara. Dated, Samvat
1887. Fresh. :
Composed in Samvat 1741=1685 A.D. |
pe is Complete in three parts: (I) yats in 68 leaves
of which 43-45 missing, (IJ) =sreraufmat in 28 leaves,
({Il) azargfat in 11 leaves.
Lt begins as before :-—
Leaf 4A, attra (are reat ( a} ) fama
fateatat fe Starai oSTa ITH |
fa areata farcry |
4° 268, sft frermeentasteuacwdra
aaitae tart wfagtsara qari: |
» 37B, stomacataa ... - can
HAT Ow. _ Ufagtate Farah |
» 38B, =attagare i or.
ses ves T wat fast satmareaan |
ag? OG. 4 2. aus ‘63 mlatast Sala |
BA Ee ia = T AVAAAHaNae |
» 496, ¢ aaTq KaTat ctarat etvaafaareaa |
SSA, « fauma(t) iframe | °
62A, aarafazfanat |
- 68B, colophon as in the previous chapters.
Beginning :—
Leaf 13B,
» LDA,
29 164,
& LOB,
Pe 1s,
(0A,
, 9B,
e, S2A.
Pe SBA.
,. 26B,
;.* 27 B,
eA
Leaf 28B, =
It begins :—
FOR
{ 155)
Part IJ.
aa aif sana: anetta atey |
o Malai etfaanrai fe URNS YLUA |
MATAR fearaacarfaat |
Haase etararamerat freaaa |
warsag fateat aife fasraaleart |
agiataameaq vay warfefaeaaa |
o MAlatfae Saal ATRUACUMT |
ANITA eA YMA ITATTAA |
o Tutsetfecniea Teurfqavsm |
0 (aanacai faye aryay |
o Sfanlaaataray qetatiemmn sag |
o AAT UTaAaT Ha aatfeyaAfatat |
o aTe4 Seqatat amagq mifeaTuad |
o ea (S)emratgqat araatat aatfate |
o aya wean efaai arya Wa |
o MATaa! THNAATHATAAAA |
0 UeqIwaaag aAalh GAIA |
°o aya eeqgiat wargraiteataaa |
o MMT TStal RAATSATAaT AA |
The Last Colophon :—
fa wtatayactactaarai faarara teeter
peattrarst AAI AHA AAAS |
Part III.
suf aiat arawaataaa |
fasltaaisanteiaagmfaaadsyt |!
( 156 )
It ends :— ,
fefar=t ayaa saa uga: arfeagraarg
ARTA Ca a aaa | aaygatia wratfo wea a@)ate
Gea yqaqauantfa vata | sears asa.
wagazwami ateafafe: waifefa wafad |
TATA SA SAA CSAAT |
q% yarearaanta feat avaa fiat T
aaazeayfadga (1741) wat aife arfa aha)
Aarne ifaaifad Stfonrt fagudifeat wat |
atateanarscus faeuarat eae fat |
aat aatate wage sAqeyMasqary |
Colophon :—
ata aimtauacfactrart awatifaart wear aq |
Post Colophon :—
aq yard | Waq esse Ga afe Heat facaaata? ata caea-
yaaTa fated au |
4459.
8759. The Same.
Substance, country-made paper. 12}. 5} inches. Folia, 83. Lines,
14 on a page. Extent in Slokas, 2,900. Character, Nagara. Old. In-
complete.
There are 83 leaves (by counting) in disorder. There
are different paginations.
In a leaf marked 57 at the right hand lower corner
we have this :—
— Stfamanceanath aca |
aaaitas carat sayzarafanar |
The colophon in the last page runs thus :—
fasratfsataten faa avacifaar |
ama Saag Wi Wt Garg uta |
( 157 )
SUIAARCUAT TAUARCIUATT |
mAaratfas ctatat afgagratanat |
afa ifesraafyararenaaetitiar eattraad |
After this in smaller lines :—
Wert HAHA wy Vets |
yats avaciuran: Waa H waTea I
waa Aart Sa arazat fariaat |
AqTAqsaly wtemma Wea |
anfaugaa dawe ateramt ame atuifi miefi a ae
asfad ange | ATETAT |
It begins :—
gS PNAITITT TA! | ATESTS AA! |
quay Anat ate ASW Aaa |
fasiaafsararen fara aracitvat |
ulfatgafaeeufcantna fated aga fratra fayfaenttad
vara ange asufHarfeat ae TATA: atari area tant
fegrerataat Rea | |
In leaf marked 25 occurs the following :—
saaraneaatawacweaae |
Aalattae ctatat watafasfanat |
Leaf 12 which seems to be a restoration, has the
following :—
sifaaganaeats TACHI |
fafeatai ctarat arquraisaaeu |
4460.
11160. The Same.
Substance, country-made paper. 10x5 inches. Folia, marked 41 to
48, Foll. 41 to 45 were originally marked 16 to 20. These have been
( 158 )
obliterated and new ones put in a later hand. But still the origins!
marks can be traced. So fol. 45 does not read with fol. 46. Lines 10
on a page. Appearance, fresh. Character, modern Nagara.
Fol. 46. begins :—
t++ +++ 4+ 4+ cad
anatase ctarat afagioma quran: |
4461,
10912. The Same.
Substance, country-made paper. 10x65 inches. Folia, 9, marked 40 —
and 52 to 58. Lines, 10 ona page. Character, modern Nagara. Appear-
A
ance, fresh. A mere fragment.
51B, at faqrancwaiaath CRIM
aaa ctarat witagioma quraa |
4462.
11150. The Same.
Substance, country-made paper. 10x65 inches. Folia, 34 to 91, of
which again foll. 40 to 59 are missing. Lines, 9 on a page. Character,
modern Nagara. Appearance, fresh. A mere fragment.
69B, stuaal < jatsa StAWARE VSAM |
: anata ufasgmirmeatraa: Tl
sfa aiatauncanarat araeitaanrat wareautagtaqewTg |
72B, Ss taaranaeaita-mMR TRL |
Raaitae carat atatagiwaram: |
xfa agantagfaaca warHa
79A, vary foat wid Naqdeaefaaa |
ayaa | wale] qafaraadt tea l
84B, =2aifaat oe maratfae AaratHaarat Rana (?) |
The MS. ends abruptly in the next chapter.
( 159 )
4463.
9685. The Same.
Substance, blue foolscap paper. 12x65} inches. Folia, 5. Lines, 10
onapage. Extent in Slokas, 86. Character, Nagara. Appearance, fresh.
Incomplete.
This appears to be a fragment of LokeSakara’s com-
mentary on Siddhanta-chandrika, a commentary on the
Sarasvati-siittras, comprising the Avyaya-varga only from
ft to the end. The first leaf is, however, marked one.
Lokesakara’s commentary is entitled awatfavt and the
MS. under notice has ae @ on the left hand margin of -
‘every leaf.
The importance of this is that it was composed
at Vidya-nagara; meaning the Vijianagara of the Maho-
medans, the place of Sayana and Madhava, 120 years after
it ceased to be the capital of the country.
The Last Colophon runs :—--
sifsaranceita MAM RLWFHAUT l
aati ee claraagqaratanat |
RAAT |
SAMKSIPTA-SARA.
4464, |
10662. A fragment of afaraare: | Samksipta-sarah.
By Kramadiésvara.
.
Substance, country-made paper. 143 inches. Folia, 7. Lines, >
on a page. Character, Bengali of the nineteenth century. Appearance,
discoloured. ;
The first seven leaves of Sandhi.
As the only clue to the age of the work, we have
many quotations from Kalidasa, Macha and Bharavi in
Jumara Nandin’s Vrtti. We tentatively put it close to
Hema-candra (1092-1173), as between Kramadisvara and
Hema-candra there are many points of similarity, for
instance both consist of eight chapters, with practically
the same arrangement and ending with a chapter on —
Prakrta.
4465.
10799D. The Same.
Four batches of leaves. Country-made paper. In Bengali script of 4
the eighteenth century. Appearance, discoloured. be
J.
Folia, 27, of which 1, 3, 5, 7, 8, 10, 14, 18, 20 are missing. 14x :
inches.
It contains Sandhi, but ends abruptly.
rt
JI.
Folia, 38. 15343 inches.
It contains the chapter on Krdanta.
Colophon :—
. gfa qretso cata: MEAs: SATA: |
( Il6l )
Lite
Folia, 18. 15x3inches. The first leaf is missing.
It contains Karaka.
Colophon :—
ulate UMA: ARGS: HATH! |
In this batch there are four leaves of Karaka, belonging
to some other manuscript.
LY.
Folia, 25, of which the first two are missing. Lines, 5 on a page.
Character, Bengali. i
Colophon :—
ata aletRo WS: Qa-aquie: BATH |
Along with this there are seven leaves of Sandhi and |
four stray leaves belonging to the different chapters. ,
4466.
10663. Whe Same.
A fragment.
Substance, country-made paper. 14x3 inches. Folia, 19. Lines, 5
on a page. Character, Bengali of the nineteenth century. Foll. 14, 15,
17, 18 are missing. Appearance, discoloured.
A portion of the chapter of Subanta.
4467,
10799E. The Same.
_ Substance, country-made paper. 953x34 inches. Folia, 54. Lines,
5onapage. Character, Bengali of the nineteenth century. Appearance,
discoloured,
It contains Tifianta.
Colophon :—
ata aieltwe fadttafacaaie: FATA! |
21
( 162 )
4468.
10781. The Same.
I. (am )
Substance, country-made paper. 173 inches. Folia, 24. Lines, 5
on a page. Character, Bengali of the eighteenth century. Appearances
discoloured. Complete.
Il. (Tea) %
Substance, country-made paper. 175 inches. Folia, 15, Lines,4
on a page. Character, Bengali of the eighteenth century. Appearante,
discoloured. Complete. a
“os
‘ }
7 | 10783. The Same with Vrtti. 4
Substance, country-made paper. Character, Bengali.
There are four batches of leaves.
Ls
5
17x 4 inches. Folia, 24. Lines, 5 on a page. Character, Bengal:
Appearance, discoloured. |
The first leaf is missing.
Contains the Sandhi-pada of Samksipta-sara. }
Colophon :— : | fe
| sfa Vete aA ASA funy fizasitaaerate iy
afanate arereratacrseftgares rea teHtfaat rat
| aut wera: safeties: Hata: |
h os IL.
| | 16x4k inches. Folia, 10.
Contains Taddhita. It is incomplete.
JU.
173 x 34 inches. Folia, 47. Lines, 7 on a page.
ee Contains the commentary on Sandhi-pada of Sam-
| ksipta-sara by Nyaya- pancanana. It is incomplete.
( 163)
Beginning :—
aat Steteaeaw Aa wea faq: wey Aaa |
faaafaat feasraat faa graretfaat ward |
LV.
Folia, 33. 16434 inches. Lines, 6 on a page.
Contains the commentary on Taddhita by Goyi-
candra.
It is incomplete.
4470. :
5030. The same with Jumar’s Vrttt on
— SUTFSUTS: |
Substance, country-made paper. 16x34 inches. Folia, 8. Lines, 5
ona page. Character, Bengali of the eighteenth century. Appearance,
discoloured. Complete.
Colophon :—
sfa faust caaai eat ufeeasttaas aca FET
ci fcr sa STAR hau feat fara (ABTA) SAAT
feuqte: GATH |
4471,
5087. TVhe Same.
( erateteaqre: ) |
Substance, country-made yellow paper. 16x3} inches. Folia, 4.
Lines, 7 on a page. Character, Bengali of the nineteenth century. Ap-
pearance, old and discoloured.
Colophon :—
xatatfeaasaataegie: GAH |
wataty fag wesd(%)<aa Tae |
Post Colophon :— |
TR tHUMR USAT ATE saqeeaeameaay tatifca
geaayg | Staregea aa |
( 164 )
4472,
5032. The Same. 7
Substance, country-made paper. 16 x3} inches. Folia, 7. Lines,
on a page. Character, Bengali of the early ninetéenth century. Appear
ance, fresh. Complete.
ab.*
tae
e
Colophon :—
ata Hiqnait caaqat aarmtifeute: aan: |
4473.
10815. The Same.
Substance, country-made paper. 132 inches. Folia, 7+44 (of
which foll. 28 to 37 are missing). Lines, 6, 7 on a page. Cheba
Bengali of the eighteenth century. Appearance, discoloured.
I'he seven leaves contain a portion of Unadi-pada of
Samksipta-sara; and the 44 leaves contain a portion ol
a commentary on Samksipta- -Sara. ‘
4474.
719. The Same.
alsautctre ( dferrarate ) | Taddhita-parisisiaHin
By Goyt-candra.
a
rh
ie i"
1¢
Substance, palm-leaf. 15x2 inches. Folia, 46. Lines, 5 on a see
Character, Bengali. Appearance, worm-eaten and dilapidated. Com-
plete. — Iq
Last Colophon runs :— |
cateta(? )ataa-stintatas tae faaa wae res , i
Witsad uf<taes aatAa | i. .
Printed in Bengali character by Veni-madhava. Cakra- :
varti in Calcutta. | | os
> tek.
~~ 4
( 165 =)
4475.
10771. The Same.
Substance, palm-leaf. 17114 inches. Folia, 98. Lines, 4 on a
page. Character, Bengali of the eighteenth century. Appearance, old.
Incomplete at the end. :
Beginning :— |
qarafeufesifeantrg uftimente aqtate |
aq aya RAa wats VRMaAT Tar
44:76.
2617. SfATATTAITAT | Samksipta-sara-tvka.
By Goyt-candra.
Substance, country-made paper. 14x 3} inches. Folia, 90 (krdanta)
+94 (taddhita) +70 (subanta). Lines, 7, 8 on apage. Character, Bengali,
Date, Saka 1707. Appearance, tolerable. .
Goyi-candra’s commentary on Samksipta-sara has
been several times printed. The present MS. contains the
commentary on the krdanta, taddhita and subanta chap-
ters, each separately paged.
The date of the MS. at the end of the subanta
chapter :— é.
THIET QOS ATT Ver HiFAsH |
| 4A4AT6A.
10840. The Same.
( Here )
Substance, country-made paper. 14x3 inches. Folia, 73. Lines,
5to8ona page. Character, Bengali of the eighteenth century, Appear-
ance, old and discoloured. Complete. ;
( 166)
4 Jolophon :—
| raierataa-saintatastacfaarat te AF ate
i wifsa-zhafsacmetarait Sata: Hera: Ue! AAT |
Post Colophon :—
fafaafad aitiaaa-eauhat | sheen f
- TH? | ,
4477, 4
3687. The same with vriti and tika.
(Commentary on the subanta chapter of Samksipta-sara.)
By Goyt-candra. rr
Substance, country-made paper. 12}. 3 inches. Folia, 59. Lines, 8 )
on apage. Character, Bengali of the eighteenth century. Appearance, )
old and discoloured. Complete. as
Colophon :— f
calere frat aa fae fararat aster
atasatatentciaaetuctatat gaaate: eat |
44.78,
2618. The Same.
( afarate: ) |
Substance, country-made paper. 152k inches. Folia, 965, Lines,
5 on a page. Character, Bengali. Date, Saka 1547. Appearance, old
and discoloured.
: The MS. contains the commentary by Goyi-candra
| on the Sandhi chapter of Samksipta-sara. |
Colophon :— |
\ SaaaR RATT a
qa: afamre: aHqtars |
i, of 4
The date and the scribe of the manuscript —
sig aah | wa fara SetaahyRmeawat
fafufxa ua TWISTS |
WHS w89 Are Fae vefeufa ae Vu wae eatat
fant feat aaewraat aafeqm: qarat | AKA HET |
A4T9,
10793. The Same.
( trad: )
Substance, country-made paper. 152} inches. Folia, 111. Lines,
7 on a page. Character, Bengali. Date, Saka 1661. Appearance, dis-
coloured. Complete.
Colophon :—
salarafaaaeyfaea HAS aTAat a FatnaTe
awit hey feat aaa zat Srat-
wfraniatasfaetaarat feattafasaats: SAH |
| Post Colophon :—
le mia fara arqquefaat wf (1661)
ym (some letters effaced)
AAMT AITAHMATAT
quad ctat fafeat qutara |
FRACIAAE gee Ttorea aifwatafag |
state |
4480, gi
10792. The Same.
Substance, country-made paper. 1384x3 inches.
7onapage. Character, Bengali of the nineteenth century. Appearance,
discoloured. Incomplete.
Ends abruptly in ¥e.
~
Folia, 109. Lines,
( 168 4
4481.
10816. The Same.
: ( Rem: I |
Substance, country-made paper. 1243 inches. Folia, 95. Lines,
7 on @ page. Character, Bengali. Date, Saka 1709. Appearance, dis-
coloured. Complete.
Colophon :—
ateaa fasinatrstacfarat 8 ae ai
stasacateufostfuas tataaemAt ara werane: |
SAH! | ‘
>
’
@
Post Colophon :—
aleeq afa aasz |
f ~ AD ~ is
WHHL ZA HS WH HTS faet (poce) |
aeaa ufat@at Stfuks (Hat) waa:
AAASyA Vlei Has arfa wan (Vows) |
avdcituatate quate fest |
This ig an instance of an equation of Saka and
Mallabda and from it it is found that Mallabda began from
616 Saka or 694 A.D.
4482.
6579. The Same.
Substance, unseasoned palm-leaf. 16 I$ inches. Folia, 84, of which
the last is in a different hand on a different kind of leaf. Lines, § on &
page. Character, Bengali of the eighteenth century. Appearance, soiled.
The MS. breaks off abruptly in the middle of the by
commentary on suttra 421 of the krdanta-pada in p. 614
of the Calcutta edition.
( 169)
4483.
d134. The Same.
(TTS and HIT) |
Substance, country-made paper. 16$X3 inches. Folia, 118432.
Lines, 8, 9 on a page. Character, Bengali. Date, Saka 1718 and 1720.
_ Appearance, fresh.
Tifanta and karaka padas only. Tifanta is com-
plete in 118 leaves and karaka in 32.
The MS. was written very carefully and is full of
marginal notes.
Post Colophon Statement to the Tinanta-pada :—
WATS LOLS | Wlawgqtersaaa wraArfae
TaAZ |
ateeq ata Sah! aa: Baa |
Colophon to the karaka-paida :—
| calea tana ey taeasitapatastacfaarat qatatee-
ufeuifeastataqauciarai wgaatcnie: FATIH |
Post Colophon Statement :—
ale ata Sah WATER vores We vat gala | aT UL
AS BEAT | |
Often noticed and often printed.
4484,
5141. Whe Same.
( WATS ) |
Substance, palm-leaf. 1442 inches. Folia, 79. Lines, 6 on @ page.
Character, Bengali of the fifteenth century. Appearance, very old, dis-
coloured and worn out.
The Samasa pada only.
peri 22
- 270} a
Colophon :—
=P awe eater trescunre! — a
"a
Saas: SATE: || y
Post Colophon Statement :—
me Way + + + 4+ fagie aged ae
gaa + + + + a ua fedte fad |
wast ++ +++ ++ Hepat
ttt tthe te ete a
The date is lost in the lacuna.
4485.
10782. The Sume. |
. ‘i
Substance, country-made paper. 17 x3} inches.
Folia, 78. Lines, 5
Appearance, dis
a
. ar *
Colophon :—
-)
on a page. Character, Bengali.
Date, Saka 1661.
coloured. Complete.
cataataasintatas actearai qncatcetatiate it
be eimtat AHA BATAUIS: BATH: |
Post Colophon :—
saTiwtareat aaa |
AHA WHT 1weee | BtynTteqyeay: a
AALS | a,
There are still two lines of writing.
ue oA
( Tt 4
4486.
10769. TAT SUTTAA et
Goyi-candra-vyakhyana-kaumudt.
( TATHATS: )
by Abhirama Vidyalamkara.
‘ Substance, palm-leaf. 17x2 inches. Folia, 953. Lines, 4, 5 on & page.
C ;
meter, Bengali. Date, Saka 1629. Appearance, discoloured. Com-
plete,
Colophon :—
sfa_ Fearfromfaqragregraantacfaamtatys-
BAM AA AAA! AATAUTS! VATE: |
Post Colophon :—
fafa aHaaa etc..
WAFIMATLAIFATT (AERE)
qatar ayReutes! |
aargquen tas feat faa (?)
After this there are a few stray verses.
Strung with this there are 19 unspecified palm leaves,
Which also relate to samasa.
4437.
6588. dfanarcizuat | Samksipta-sara-yppam.
Being an exposition of Goyi-candra’s commentary.
(Pada V or karaka.)
By Vamsi-vadana.
Substance, palm-leaf. 19x14 inches. Folia, 48, Lines, 3, 4 on a
page. Character, Bengali of the eighteenth century. Appearance, old
and worm-eaten. Left incomplete.
( 172 )
There are three and two leaves at the beginning and _
at the end, containing stray verses. |
On the obverse of the first leaf :—
PATA Bas Atafas WaT |
It begins :-—
RAMA AAR ATA
Tazawa BMA WMNATSS I ©
tara wana freuTaA
yaut a facut a aeRO aw F-gqe: | |
WIGe: Wal al A Kal ata Hteanfafa i etc., ete.
The commentator’s name does not appear in the
incomplete manuscript. But the I.O. Catal. has a good
description of Vamégi-vadana’s work, dealing with the
different padas separately. The beginning of its karaka-
pada is the same as quotedabove. See I.O. Catal. No, 827.
The Mangalacarana is, however, not in the 1.0. MS.
4438.
2765. TRC zifuat | Vyakarana-dipika.
( HEUTE: ) |
By Nyaya-pancanana, son of Vidya-vinoda.
Substance, country-made paper. 13422 inches. Folia, 60. Lines,
7 on @ page. Extent in sSlokas, 1,700. Character, Bengali. Date, Sake
1700. Appearance, discoloured.
Lt begins :—
fagued aH aquad uaa: facufaal face
“le we! sare |
Colophon :—
stuaofaqgaa (tart fa —aera stargate
faniziaaaiamaygmanaa dfanacetarai zara:
ALMITS: PATH: |
The descendants of the five brahmanas brought to
Bengal who lived in W. Bengal were called Radhiyas.
They were settled in 56 villages from which they derived
their titles. Ptirva-grama is not one of them. But latterly
some of them settled at that village and became known
as Purvagrami.
Post Colophon :—
aaa fafeataarfe | xsaa fafeate (?) feaeta-
AUtlata: WAREZ: YHoo |
4489,
9137. The Same.
Substance, country-made paper. 16$x3 inches. Folia, 43. Lines,
10 on a page. Iixtent in Slokas, 1,720. Character, Bengali. Date, Saka
1740. Appearance, fresh. Complete.
The commentary on the karaka-pada only.
| Beginning :—
ge wa: falas |
faat | aq yatagearmarmwutueria wear
qiatmay | atfaat ad faareasatsratrare-
MAU | AAAs |
Colophon :—
ata want () aatfafiraere stan fae_r-
faticiasa-siaragiaamatat AaAaLe taal ATaARTL-
ctfuarat wqaatcafeurtt SATA |
on ( 174 )
Post Colophon Statement :—
a & setarerarat 7A: | WATT YOBo LS S|
For the commentary see [.O. Catal. No. 830.
Aufrecht gives the author’s title as Nyayalamkara.
ay
4490.
3581. The Same.
An exposition of Goyicandra s commentary on Samksipta-
sara, by Nyaya-pancanana.
Substance, country-made paper. 153 inches. Lines, 7, 8 on a page-
Character, Bengali. Appearance, fresh.
Contains the commentaries on :—
I. Sandhi-pada, complete in 53 leaves, dated Saka
1634. |
afa waoifageaatfafs—awiastorga—safa
fanicrasa-Saaaagaaaaat |= aranteetfuarar yea!
areyqute: HATH |
Post Colophon :-—
RAMI TH aT Wea Aare | fafwar steer
Wea ¢a8 ates vat atti Btamafatama
GeRataca | | |
On the reverse of the last leaf there is a page of
taddhita-pada.
; JI. Tinanta pada, complete in 100 leaves, dated Saka
[aa 1681. The 22nd leaf is missing.
Colophon :—
zta waoifaqeaatfata—aciadtrara_—aifat-
fanieraa-siayiaagiaamRarai arareifuarat feata
TaISeqais: AATH |
Post Colophon :—
Waar (esr atta fates shettawtawa:
Ufeaant aw) BtsTteTe |
III. Krdanta-pada, complete in 51 leaves, dated
Saka 1681.
Colophon :—
Vast AR ATH AAT ALITA ATE |
WMH SA aqgaat Te aA |
sfa waa gi faqeaafafe-aermetngma—star-
faateiaa-aiaranaaamara «dfanarcetarat eats:
ACUATS: AATH! |
Post Colophon :—
NAYS AAT aa | seta aa | SAT |
Sarasa 7H: | Asttaacaa aa | Bteatteat |
TATE Vesa FaMateufeas saHs UfMae!
fatufca tiemitucanaa uaa FT |
IV. Suvanta-pada, complete in 40 leaves, of which
5 to 20 are missing.
Colophon :—
xfa_ Stqeanafate-aerretarare-atrattaatar-
aa-aaargiaamaat dfqaaetarat arat(ae-
zituRtat AS Waals: BATH |
Post Colophon :—
y ! fataad sreriawyeaat |
See 1.0. Catal. No. 830.
| ae ( 176 )
4491.
: : 3311. The Same.
; Substance, country-made paper. 183} inches. Folia, 383. Lines,
8 on a page. Extent in Slokas, 825.
Character, Bengali. Date, Saka
1646. Appearance, discoloured.
The MS. contains the chapter on Karaka only
Colophon :—
ata dam taqaaat tat aA STA Sea
aie apap aaa aa AT a
armament wya: HERI: HAH:
Post Colophon :—
WRIT VERE |
aaa fafaat oy: aaieata area: |
wat aq arat a faa aw a new:
This is an exposition of Goyi-candra’s Samksipta-sara-
tika.
The commentator and his father are known by theit
titles only. LHggeling gives the father’s name as VaneSvara
and the son’s name as Narayana, apparently on the
authority of L. 1594.
. 3 | A492,
t | 3159. Whe Same.
1 Seardiver { ( qa ) |
Substance, country-made paper.
7 on a page.
eaten ee
1843 inches. Folia, 43. Lines,
Extent in Slokas, 1,690 as given on the margin by a
former purchaser who gave for it Ks. 3/4
Character, Bengali. Date,
Saka 1647.
Appearance, old and discoloured. Complete.
Colophon :—
Hi ya aifagqgaaeantas fa asm etorgra—aifrat
| faa saat Gaatewat SAaTAT |
Hi j
ote
i]
;
a
. -
oo Se : 5 2- ae - SU ee
( WT 3
Post Colophon :— | ;
WATS (eso atfag 2eE VMS Mew Jak as)
SlTUTAIA AH: |
yua waacarased aaa + + aaaetirat |
aqnazufaat ((é€8s) F qqet Hamme wal Batata |
It begins :—
quAAga Aqatary aquatanaty 3 wegaATE-
arevat waetat | swarrfedtugas salwdarest
aauAre qa fa eats 1 -
4.493.
3564. QTAICTATCAST | Vyakara-sara-lahari.
By Kavi-candra.
Substance, country-made paper. 17 x 3+ inches. Folia, 82. Lines,
6 on @ page. Extent in Slokas, 1,900. Character, Bengali. Date, Saka
1636. Appearance, fresh. Complete.
Last Colophon :—
afa dastafewarfacfearst aeaeat aNA! TATA-
Ute! AATH: | |
Post Colophon :—
featrttaraefasatam Fa AAR SS |
ee fatwarsteua 7H: |
TRTATAF TATA (eae)
gia fest: Btyaureara: |
ue aalad atawstiea
Tage AAT BLUTeuAA |
Ral wd arata ataaae
wat shAasSIeMITAS FA |
23
'
i
Ch)
ane
aaa weraraat (7)
waft aeawet fearat oo 1
aaa AIR TACAT GHA |
Saas wifad Ga Aart |
wis a Afe a aut a a Viaaay
aaa feata ata a Ate wiaa |
aU AGN ele Raa A
aia agata ax ufsat were | wae ata |
og ye Pa
‘
It begins :—
aa way atanarcteaaags: |
feared afar aa ata hzare |
att aawatangaag a2
Gg aa aU fa | °
ages etataad mua fe aa:
¥ FAG Aaa AAA TA |
* AAUITAGAA AAAS
‘eTataeta afaat afeauaret |
QRCLALAPat Ay_aHaait
qeacaaataataaat faatea |
WGASMIHLIET: Wit W at etc., etc., ete,
It ends :— of
wagecaw watet: | oatfmarst oaatea: | wari
Wai wut | waa wa BEA | oR A Byaalfa
Reg? | ATA wat Aeaat eet | A Ase qari qaras
qatad | sree: afer: egiaente |
( 179 )
4494.
731. Ofanatae araaareztar |
Samksipla-sariya-Prakria- pada-lika.
By Narayana Vidyavinoda.
For the manuscript see L. 1594.
The commentator appears to be Narayana Vidya-
Vinoda and not V idyavinoda son of Narayana as Rajendra-
dala Says. He was the son of VaneSvara, son of Jatadhara,
and brother of Chattri, who belonged to the Purva-grami
clan of the Radhiya Brahmanas of the Vatsya-gottra.
See the second verse from the beginning in L. 1594.
Lhe Post Colophon Statement :— | !
VATS Oy | | Tees aa) | SH hyeweT-
GLARSY wWHTAat BR aa; whe Fan Brataat
Ww | |
slaaTseaafaeyna wat fafeat aaH
stagmaatests afaat aeqteat WaT |
SAMA TH FUSE Hagan
sStrmaryqurssfataa (1705) we fast area |
qaatta AUT Aer wat Hheaa ale
sate aq wWaHEtl, etc., etc., etc. s
siwmaatqueana: ymaatae | arTae AT!) | WATERT:
YOoy | c :
ava afa faatate caret fast fea |
Tass wat ota: States Vt I
2
C ASU 4}
4495, \
64. dfamaracaaateta: ( uTaaraTe: ) |
Samksipta-sara-rasavati-vrtti h (Pra*krta-padah).
Substance, country-made paper. 15x34 :Miches. Folia, 27. Lines
5, 60n a page. Extent in Slokas, 436. Char, acter, Bengali. Appearance, _
tolerable. Complete. ,
Printed in Bengali characte:* by Veni-madhava Cakra-
varti in Calcutta. re ; bah
443 6.
is S . |
o055. Cats a: | Suvanta-durghatah. gy
Substance, country-made, paper. 14134 inches. Folia, 17. Lines
ne
9 on a page, Extent in Slokvas, 550. Character, Bengali of the eighteenth :
‘century, Appearance, fregh,
Complete. - a
It belongs to the school of Samksipta-sara.
See H.P.R., Vol. I, 409.
It is senerally known by the name of Jfiapaka.
Colophon :—
ata qamwy sae: BATH! |
4497,
4850. SBT Beet: |
. O.
Substance, palm-leaf. 132 inches. Folia, 27. Lines, 4 on a pag
Extent in slokas, 325. Character, Maithila. Date, L.S.155. Appearance,
old and discoloured. Complete.
Beginning :— ,
GF qa: BTW aeSUrs |
qaT ASiaa ara aratat qfezaq |
aCe HA WAU Gaal TATA: | |
ud fea ax ay way Bea Hea GRHeat | TA
Set WS RAM AR! Fates
—
|
}
( 18) )
Ena a
saaqatfeuatiat Tet saat Wt Barat | efaer
watafaa aafenaqurata walters
Saree! | AR SaaS AATSISCTSTT TAS wTSTa
fateafad uaa | (?) we way ara afe ve |
There is nothing in this MS. to show that it belongs
to Samksipta-sara school all the stitras quoted belong to
anini,
4498.
2135. SUTATATITAT | Dasa-bala-karvka.
By Dasa-bala.
Substance, country-made paper. 9}x44 inches. Folia, 6. Lines, 6
°n a page. Extent in Slokas, 150. Character, Nagara of the nineteenth
century, Appearance, fresh. Complete.
Daga-bala-karika begins in leaf 3B :—
For a description of the work see L. 2804 and see 1.0.
Catal. No. 843 (p. 228). Memorial verses on different
forms of the same roots in different ganas. It belongs to
the Samksipta-sira or Jaumavra school. It is composed
by Daga-bala. |
First two leaves and 3A are taken up with a number
of well known verses on a variety of topics. Such as:—
In leaf 1A :—
fawsdanatq feet aaaqat Ba |
BRA A Ula Wa GATT |
Leaf 2A :—
HRUUAARCUCTS:
yous yeattaary qe |
GaaTIAA Aaa SAAT
yafatatefae fe camara |
Leaf 3A :-—
ted 4 ae ated a aay
feated aa = ataataze |
waa aa] afra siear
featutiia afe ofaz: |
4499,
1O078SA. The Same.
Substance, country-made paper. 16x3 inches. Folia, 2. Lines, 10
On @ page. Character, Bengali of the eighteenth cer
old and discoloured. Complete.
itury. Appearance,
Complete in thirty-six karikas.
Colophon :—
ata emanate Sarat | :
Beginning :—
a aaa: afar watatsta auta fas caes fiat: |
fatuameeufauteara wurfa Bai aaeretes |
We find after thirty-six karikas. |
wefan witataaaa uit qaqa Here: |
MITA WT Tart wfeat satual fawfaqeanm: |
4500.
5109. FEYTGRICAT | Vasu-dhatu-kavika.
With a commentary.
Substance, country-made paper. 18x34 inches. Folia, 5. Lines, 4
on a page. In tripatha-form. Character, Bengali of the nineteenth
century. Appearance, fresh.
lor the text see L. 2921 and I.O. Catal. No. 841. A
set of 17 memorial stanzas.
The blank page of the first leaf of the I.O. maruseet
contains the title Samksipta-sara-sammata- -vasudhatu-
( 183 )
karika. Buatit has no colophon. The present manuscript
has a colophon, in which it is said to be a work of Panini.
rfa taraeqeasfaufafigtaa aqurqatf{at TATAT |
Post Colophon Statement :—
fafufed uaafad staqetasanena: |
The commentary begins :—
sy wel aea! aia eSeTat aT | aa TT
aa etut 1 ataa, aaa, wha |
4501.
10824. afaaredtar: | Sandhi -pada-pamktihe
Wath a commentary.
By Vaidya-natha.
Substance, country-made yellow paper. 13x83 inches. Folia, 9. In
tripatha form. Character, Bengali of the nineteenth century. Appear- -
ance, fresh. Complete.
Colophon :—
ata afureuaia: SAAT: |
Commentary :—
afteumStal AATAT |
These leaves contain some subtle points, with their
solutions, in the Sandhi-pada of Samksipta-sara.
Beginning :—
ee aa: farara |!
gfaua fara wal anetate Awa |
fred watega aqaraa WATT |
) aatet afieuren ai aifga Ufaaaetd |
| } fa@a feuttare ASISITTRATT |
( 184 )
; 4
<i
qs RA | ATH aTqaare framers | wee wT ata aan Te
fateagqe | vasa: oHRaS aa! wi ste aq gare at
aq fase ag aaa: faq thea atars | SeTeCI-
zaatfeate | 4
The commentary begins —
; r
TH Vaasa WITH SA aaTat OURS
a“... i
wate zea ete., ete. ow
>,
4502.
3538B.
Substance, country-made paper. 133x3 inches. Folia, 12, |
Lines, 9 —
3 ,
on a page. Character, Bengali of the nineteenth century. Appearance, —
discoloured and writing effaced. Incomplete at the end.
mi
Lt begins thus :— a .
atuanisatata grenafaarte | —,
The writing is so much effaced in the first and the —
last leaves, that they cannot be read fully. It belo
ngs to a
the school of Samksipta-sara and treats of Karaka.
‘7 ™
The name of the book is unknown. It has been called _
attafaaz from its contents. |
HEMA-CANDRA.
45083.
T997A. fasvaas furans awreaete fa:
Siddha-Hema-candrabhidhana-svopajna-sabdanu-
Sasana-vrttth,
By Hema-candra.
Substance, country-made paper. 10}x4} inches. Folia, 103. Lines,
17 on a page. Character, Jaina Nagara. Date (in a different and later
hand). Samvat, 1679. Appearance, old and discoloured.
It contains ten padas, namely, the four padas of the
first adhyaya, the four of the second and the first two
of the third.
The four padas of the first chapter and the first two
of the second are here grouped together under the name
of Prathama-satpada, for which see W. No. 1679.
The remaining four padas make up the second group,
called awaute which begins in 514, ae | THT 1a:
Rauf: |: | Tiana RTT zaaat: awatat TUE SCRE |
ry UHM afta, ectc., ete.
On the left hand upper corner of the first leaf and of the
d0th in which II. 2 ends, occur the words WaHeeuleTERTe:
similarly in the 5lst and the last leaves we have HW wzya-
mRseeta:
The Last Colophon of the Madh Fe or ervey
ortit :—
aay Wades sifaataestarretrawerg-
maTsat eairaryiay feata: ate: |
24
( 186 )
Post Colophon :—
ataeauray yar: atfa cae |
mara Ffeaty fafaataaeaag |
ata aqenatae arse SATA | ae apeqrat: We
qreten: |
‘The date is given in a later hand :—
ate atdaq ydoe aa’ sage] ate 0 fF) are Gizqaate
wee qLATal Yaa fears visit aa ufafca |
The entire work consists of eight adhyayas, the first
six of which are concerned with Sanskrit, the last two
| | with Prakrta. It generally goes with the author’s own
| commentary, the Vrtti.
Hema-candra, a well-known Jaina writer, was born in
| 1092 and died in 1173, was pupil of Devacandra Sari and
was the teacher of King Kumarapala. He wrote the work
at the request of Siddha-raja. | ,
| For a description of the work and the literature that
grew round it, see W., pp. 208 to 254.
4504.
2609. A shorter (#4) commentary on the same.
Substance, country-made paper. 104} inches. Folia, 131. Lines,
21, on a page. Character, Jaina Nagara. “Appearance, discoloured. To
the end of the seventh adhyaya.
Colophon :—
ROS a aa fae Paa_fa goa aa fh a4- Sho erquiaa-
CATA HA- CAAA TA Ue: AAATSATT: Aya: |
; The Post Colophon Statement :—
daq (exe aa aaa AH Ua
zatates + at aaeisamaqegtante }
See L. 3096.
For an account of Hema-eandra see Peterson’s fourth
Teport, Pp. 6.
4505.
2567. The Same.
Substance, country-made paper. 10x44 inches. Folia, 73. Lines,
= & page. Extent in Slokas, 4,000. Character, Jaina Nagara of the
_. /eenth century. Appearance, discoloured. ‘To the end of the fourth
Pada of the fifth adhyaya.
Phe Last Colophon: —
ramTaseaasacharat fastaaatharretrs-
WRIGWITA-TATUL UBAUNATIR Ws! UTS! TATE |
15 5
Lt begins:
HS | UU] CCA aT STV MITA |
WE Sata Bat faq VAI | hl
We) agfaaacat uteace wafeat wa AFA
Were yimege fate: Ste | TRTAT_ HA HTMATSTT
Watat weet fafeutastfes Sfeaat | Tara | WATT aarat
“UM a ataearancut?: fafedfas seat | awaaTasE FS |
WAT Er: | |
4506.
10874. The Same.
Substance, country-made paper. 10x4 inches. Folia, 18 to 36.
Lines, 7,8 on a page. Character, Nagara of the eighteenth century. Ap-
pearance, fresh.
;
,
4
}
_ = ~~
a
A mere fragment.
25A, afa suet alla lsaca afeuret feata |
36B, xfa aaa ATA URE qaqa ts |
Pada III begins :—
aqyemet: ve uate gat-waai-faatetas qaaat |
qaeeet svat aq ue verq ve aet-waal-fedtara
( 188 )
asa fad aw sag ze aa eaataleut a waa
ael-adqai-teaiareg wea: ; fat a: arTAat frat Za,
etc., etc.
4507.
10097. Zhe Same.
(With Ch. VIII on Prakrta.)
; Ta
foolscap paper. 8x5 inches. Pages, 88. Lines, 20 ona
Character, modern Nagara. Appearance, fresh.
Substance,
page, A.
P. 50, seeangrag saa: wre: | %
Last Colophon : a!
erate eirenetttectentat fentawattrer
qa gaatst serra feats: wre: gare i
Post Colophon :—
tenquaaicfanizectuareaqtae + + + Fe!
oe fatet yainste ue a aaataaat Hata |
atteareat graces: Rats sianaaz |
In English also :—
Sahitya-bhaskara Gaigadhara Kasi AnkaleSvara.
- | 4508.
7997B. The Same.
Substance, country-made paper. 10%x*43 inches. Folia, 70. Lines,
13 on a@ page. Character, Jaina Nagara. Date, Samvat, 1534. Appear: — hy
ance, fresh. Complete.
Adhy. VIII only dealing with Prakrt in four padas.
Last Colophon :—
| Rares sa watactaa WAU wae We 1
ASA: AATH: SATA BT | |
( 189 )
Then we have a PraSasti :—
aatal Va feevaaanRanedsta: yatta arate |
arat (wit )famintacqaaqeqagqaitga: Rafarecaaatsere: |
siqaius sfacdcad fig faaasiza: ahrqyagerade: |
qerqa aasats vaavafeaata: fatanfasiafeeza: |
aq eauafaasut guint Stfeses efa ava fast wafe |
aay faa wqraduisamiar fratrasy a ud aqefaarat |
faqraqzufantantad ala HSH URNA AGA F Il
aatfa faa facinfanntt retgMaaaEnetaas |
spyfiat faxad fafuaqua werqureafad qfatars |
afa oyrte: |
Then comes the date of the MS.:
WAT ss aq wataafe waestt es fa earaa afaa
RAPA aIe TA Vesa vata, A Bara Il
In a later hand: R8ce | |
4509.
2502. The Same.
For the MS. and the work see L. 2449.
The commentary is entitled ‘Prakasika.’ Twice
printed.
Post Colophon :—
slit STATI Waa |
fated cma faaaihare |
4510.
285. The Same.
Substance, country-made paper. 14x4} inches. Folia, 112. Lines,
7 on a page. Extent in Slokas, 2,240. Character, Nagara. Date, Sam-
vat, 1895. Appearance, fresh.
( 190)
The codex contains the eighth book of the above’
grammar. |
See Rajedralala No. 2449. }
The MS. is defective. It begins from :—
fudt | gamefa faa get ax atacarwarfeaty
age sta fea weatat) wetat: qe) wardtarea:
qt ue afeaa uafa j
Lind :— P 2
Tal Wad SOA Wee Aaya Vt (sata
sfa yatmt vac, aa afaacetafa uate), uaa fae
facta facta, ac acta acta fagned asad aat
MIVA !STA SIZATALA |
Colophon :—
Saae-ateaasactaarat feetaderfieraetra-
Wea WIaTsat ACARI WD: are: | aq aarat
qd AAlnatls |
The Post Colophon Statement :-—
qq Arey, Wa AAS wy Bd way Bea
AFA ||
4511.
10737. The Same.
Substance, country-made paper. 9x4 inches. Folia, 94. Lines, 9
to 1l ona page. Character, Newari of the seventeenth century, Appear- :
ance, discoloured.
Adhy. VIII (on Prakrta) only.
Last Colophon :—
gaia Beaastactaarat fassaaeuaetyrs-
WI WIaAs tt ASAT AT Tey aqy: TT<! SATA I
( 191 )
aatnla THSBearsyeraweastayatfaranr arafa |
aretfe + + + + aR warege-
galirata fave MAaIISEUS |
siyearst fa egua feqtar
aU xa: hagqyaaHaaaa: |
awiqy aaanta yaaqat-
tal fea fata: fafaufasafeeeaal
aq wauetaaaus quit
sifagas tfa aia fast wate |
ava fay WLaGetgurag
Beatwysy a yd waft a
famiagqzatatiaafatiatat
ATSTAATT TRATYGITA F |
| atta famageumafauata-
MRS He Maa
aeqfaat fa + + a fafeagrra
Walqwiaatae qfasaus: |
RUS DID | why wad | ,
= EE —————= <= |
| 4519,
) | 7814. The Same.
Substance, country-made paper. 1388x5 inches. Folia, 29. Lines,
ll ona page. Character, modern Jaina Nagara. Appearance, fresh. A
mere fragment.
The only colophon found here is that of VIIT. 1 in
fol. 25A.
25A, sara Sea da fachearat fax ga darfrarratratatg-
wears ASTHMA WAAR: Wis: HATH! |
The MS. ends abruptly in the 61st stitra of the
second pada.
( 192 )
un
The work has been edited, in the Roman character,
with a German translation and notes, by R. Pischel, 1879,
1880. See also Aufrecht, Cat. Bodl., Nos. 410, 411.
A513.
3049. @ITAYTAITUT AU |
Svopajna-dhitu-parayanam.
An exposition of the various meanings of the verbal
roots, met with in the Siddha Hema-candra Vyakarana,
by Hema-candra himself. A very useful work. a
For the manuscript and the work see L. 4019.
4514.
7998. MTT quiafsacag |
Svopajna-dhatu-patha-vivaranam.
By Harsa-kirttt Sart.
Substance, country-made paper. 10}«4 inches. Folia, 81, of which
the first five are missing. Lines, 15 on a page. Extent in Slokas, 3,600. ‘i
Character, Jaina Nagara. Date, Samvat 1672. Appearance, old and
discoloured. A
Ta
Colophon :— “s :
Ss aaga saa el ag eaR_-at eH at eae
fad qtrsaigquistaaxal sywe | ie
| Post Colophon :—
aatal Va wutqacfyat atet arautactar; wat
Hfjgawmsnrlsarate | Aan
daq (for ae aifimate edtarat | wo wafeM
afoamtat foo WAAR fata Wea fat .
igid | aw waa (a a¢ee In a later hand), |
( 198 5
In a later hand: fated algae aque (A name is
blurred over with ink) srtqztat
It ends :—
TAA UNAS aa MHA TRIM
aaa eT RST SAT TTT I
ata SARA CALAT BSy! BAe |
UIduiTsras TR] HTeMaAaraaA |
qeaqaaey Safest: Tat: |
awrayaat we fatal deathee |
(afa sitaad ama ) |
fauraTataaats wiaasfa & aaa) |
~ ° P.O nes ee we
BARAT: Wat eq utaway facwa }
SIT GSM TA AAA ARAVA |
ATIZUUMAT RATA aLat (eTer) AF I
HaRUGAA FT
*
ala ala: SHSM weRtaaRy! |
agate: Ga: afsneaqa: ag |
Fas |
+ 25
aifa[aletanutgq feawet RoBR uayfca: Waal |
HAMMAR SHS Ua: Was! |
aga (?) Sq wat tara fata |-
ATI HAVA qaeufawua |
Sawa fers cafseret aa |
gatas tax ayaa fava |
azl Qlq Va sigat waqeufaeua | |
fesqra efatd Hat | (2?)
ra ua utafsarafaa wattezathaa:
afe: Fisahec: gufca: Htwae: aaqyT: |
( 194 '
ealat ufe + 4+ aw anatemaetaye:
- = ~
aaa: + + aracmatea: staat Fu |
af atoyzattacyataaitafad qer
a ata: fea wersaeé aeTarfeqa: |
sraaaite aac aw Qtat Ata: Warat + +
feat mages SsHae: BW SaRizap Ss!
lie AAT HET Alaa aarderrs: wy wa
cretae frets + + eat shart wang am |
staaq aitwadastaafaat daria: etext
af: uaatifenrataaat: ssimathi-oy: 9
ae: dafe wqdeentatiat aenifed
atamaquraatanat (?) =ratheat WaT | |
fecafuaaratasiaatat actaistai
fors: afeae: many afaue[:] stredath: ait
aaa etaaratateaa(a astray ae-
zfa: mafdtaad aaetea: shomdarfzat |
arquise etna aATat atqaxfaay |
pada faaqMTaararae |
Agatasreaarattaa (?) aga fara |
santa Tat aaR Hara fai vfs |
This work as composed by Harsa-kirtti much honoured
by Mala Deva the Raja of Jadhapura in the middle of the
16th century. His Guru obtained from Akbar the village.
Ksauma and a comfortable seat. The previous Gurus of
this Nagapuriyagaccha were honoured by Hambira Rajé
of Mevar, Allauddin Khiliji, arg) elas ‘Sekundar Lodi
and others.
( 195)
4515.
8000. Mastwanrqnraafsarag |
Svopajna-linganusasana-vivaranam.
By Acarya Hema-candra.
With Durga-pada-prabodha, a sub-commentary.
By Sri-Vallabha.
Substance, country-made paper. 9x4 inches. Folia, 79:
140n a page. Extent in Slokas, 3,200. Character, Jaina Nagara of the
eighteenth century. Appearance, old and discoloured. Complete. The
sub-commentary is written on the margins,
Lines,
Last Colophon :—
Las Sawaya torafiarqwieaafaaea
GATH | 3
(Of the sub-commentary) :—
sfa Sengeyaty: eam: |
Post Colophon :—
Suave arent aayseay fatiaat qa: |
=
stat faa aaq =k (7) ATTRA AAT! |
The sub-commentary was composed at Yodha-pura in
Namvat 1661, under King Stirya Simha.
For the vivarana see W. No. 1691 and for Durga-pada-
prabodha, W. No. 1692.
Hema-candra’s Liiganusasana is a metrical treatise
on the gender and is meant as a supplement to his Sab-
danusasana..
a ( 196 )
4516.
elie 10186. SASHA: | Durga- -pada-prabodhal.
Being a commentary on Hema-candra’s Linganusasan
By Sri-Vallabha Vacaka, the pupil of J nana-vimala
Pathaka. |
Substance, country-made paper. 9i«4% inches. Folia, 31, ‘of
which the 21st is missing and the 19th and 20th are ex tremely dilapidate ad.
Lines, 17 to 19 on a page. Character, Jaina Nagara of the seventeenth
century. Appearance, old and discoloured. A fragment.
é fo
~~
.
¢
'
For the commentary see W., pp. 250, 251, No. 1692,
from the concluding verses in which it appears to have
been composed in A.D. 1605 at Yodha-pura during he
reign of Strya Simha.
4517.
7980. faaTta ayaa: Kriya-raina-samuccayaly i
By Guna-raina Suri. : bY
Substance, country-made paper. 10344 inches. Folia, 25. ee
23 on @ page. Extent in Slokas, 2,250. Character, Jaina Naégara of t
seventeenth century. Appearance, old and discoloured. It ends aoe y
; It treats of verbs in accordance with Hema- candra’s
Dhatu-patha. ;
Beginning :—
aata faaasarat Aat cfafaasaarstsH |
su wactated PANTTAATAT ary fai i .
a SHUHAATAIAAAM TSS |
qeuntinaigal Aaaagqgay |
etaqecitiaaegem fatua: |
afe: Fqwxats FCI asasyqey || GA |
Se actudinar feaeattt watauga GeISAt. uae
aes TTA azitentaaata aa: yararfaurt Wes aad ,
fread | :
MUGDHA-BODHA.
4518.
10028. ATTA TIT ATU |
Mugdha-bodha-vyakaranam.
By Vopadeva.
Substance, country-made paper. 10x 534 inches. Folia, $+ 36+ 43419.
Lines, 11, 12 on a page. Character, Naigara of the eighteenth century. .
; Appearance, discoloured. Complete.
Last Colophon :—
sfa sratueautsatactyd qrratuarnca SATA |
See I.0. Catal. 848 to 850. Often printed both m
Kurope and India.
Composed during the middle of the thirteenth cen-
tury A.D. at Devagiri under the patronage of Yadava
; kings of the place.
a. = ~*~
=. ~?.
4519.
5078. The Same.
; ia, LOS
Substance, country-made yellow paper. 16x34 inches. parent edt
Lines, 7 on a page. Character, Bengali. Date, S.K. 1758. AppeA ;
fresh. Complete.
The concluding verse :—
, aq Bmanem awyearntar waa <a
yuatat 74 Faaste fatafatarsiAatae |
atest aa wq vTqaawiat Aa F-
aaa tu-frataatee TU RA A aHract Il
Colophon :— |
earatatastafu-atueau faga fax faa AAT AAR
GATHE |
i i ee el
( 198 )
Post Colophon Statement :—
WATT AOUS-2-2VE |
4520.
5034. VWhe Same.
Substance, country-made paper. 1344 inches. Folia, 110. Lines,
5 ona page. Character, Bengali. Date, Saka 1711. Appearance, old and
discoloured. Complete.
Last Colophon :—
Saar gSra tn srtat a eau faa fanfad qraat aan
AATHA |
Post Colophon Statement :—
Ta aagurgantage (1711) chan arat:
aaiitsafant weacteasate vant wat |
SiiaaaAMm aAStrat Threat
agoancarant faaad shyyeatat aera |
4521.
5193. The Same.
Substance, country-made paper. 14x4i+ inches. Folia, 4 to 10.
Lines, 7 on a page. Character, Bengali of the early nineteenth century:
Appearance, old. A mere fragment.
| 4522.
178A. TBhe Same.
A fragment from stad @ a a to WAAR |
4523.
3334. ATTATTSTAT | Mugdha-bodha-ttka.
A commentary. By Ramanandacarya.
*
Substance, country-made paper. 103 inches. Folia, 165 by count-
ing. Lines, 8,9 ona page. Extent in Slokas, 5,000. Character, Bengali, .
Date, Saka 1579. Appearance, old, discoloured and dilapidated.
( 199 )
There are eight more ieaves. They appear to be a
testoration. but as the leaf marks in most of the leaves
are effaced, and the handwriting also is effaced, we can-
not put the leaves in proper order.
For the commentary see I.O. Catal. No. 852. and
L. 395.
Colophon :—
afa stararrararafacteat qrrata]etat SAAT |
Post Colophon :—
samy wefanfafese arart wqesi aatawfa-
SUSY AME... HR PATHE |
WREST WUE |
awafataent wih saw RAT |
fafa@ar afer at sacra Waa | |
The commentator was the Court Pundit of the Kish-
nagore Raj Family about 1700 A.D. He became a San-
nyasi in his advanced age.
—
A524,
5335. ATAPI ITATUATAT |
Mugdha-bodha-vyakarana-tika.
A commentary. By Devi-dasa.
Fragments of different MSS. of the commentary
written in Bengali of the 19th century.
See I.0. Catal., 852.
hi:
/ Thirteen leaves from the beginning to the end of
Sandhi.
( 200 ) a
It begins thus :— G.
Staanas MagUuaa aaah AT
cts qvastiuy Zaieiaa waa |
qTaeasaiad Btagqaiaahiay aA |
WreaaaAaata AV aazanAfaay AAT 2 I ete., ete.
Vaid
Twenty-three leaves belonging to Sabda.
Colophon :—
ata waritgrataa: |
Post Colophon :-—
gqratfae BRU TTA Saya: | ) a
TIT,
Four leaves belonging to Stritva.
Colophon :—
sfa wiauieagreaaan: |
IV.
Twenty-eight leaves, from the beginning of Karake
to the end of Taddhita after which there are six leav 5
belonging to Krt. ie
Vv. .
a
\
Eleven leaves belonging to Tyadyanta.
Colophon :—
Eta AAMAS
Post Colophon :— '
fafeafeauaareia PPP ca MAAA SAGARA bs
sifanweaat F w YerTUrargy | .
/One stray leaf.
4525.
L78B. ATARI | Iugdha-bodha-tika.
A commentary. By Durga-dasa.
The manuscript has been noticed in L 449.
See also 1.0. Catal., 855.
To the beginning of Avyayibhava.
Durga-dasa says in his commentary of Kavi- kalpa-
druma, that he is a Ganguli and the son of a Sarva-
bhauma. From this Siva-narayana Siromami, the editor
of Kavi-kalpa-druma, has inferred that he was the son of
celebrated Wasu-deva Sarva-bhauma the founder of the
greatness of Nava-dvipa as a seat of learning. But Vasu-
deva was not a Ganguli, he was a Banerji (see Brahmana
Khanda, Banger Jatiya Itihasa p. 295). Again Durga-
dasa in his commentary on Mugdha-bodha compliments
Vidya-nivasa as the Adya or ancient commentator of
Mugdha-bodha. So he must have been posterior to Vidya-
nivasa who flourished about the end of the 16th century,
that is, about a century later than Vasu-deva. So Durga-
dasa must have flourished either at the end of the 17th or
the beginning of 18th century, or later. -
AB2Q5A.
5071. Lhe Same.
Substance country-made paper. 16x33 inehes: Folia, 248. Lines, 7
on a page. Character, Bengali. B.S. 1148. ‘Appearance, discoloured.
Complete.
Last Colophon :—
afa caterafagrauiiatactaat ee ae Brea aa-
ZtmHl MATA |
26 ;
( 202
=—
Post Colophon Statement :-
saaaaneaM: wanfas Het 77. 8e (BS. 1148?
Sta aH: etc., etc.
Ne 4477. The Same.
rt | _ Substance, country-made paper. 194 inches. Krt is complete in 43
\ % leaves and Taddita in 34 leaves. Lines, 7 on a page. Character, Bengali
| of the early nineteenth century. Appearance, faded. a
4527. "
ip
| 5045. The Same. Sei!
= Substance, country-made paper. 164 inches. Folia, 22842647.
} a Lines, 7, 8 on a page. Character, Bengali of the early nineteenth century. |
oa Appearance, discoloured. a
“ - I. a
Leaves marked 1 to 228 begin in the beginning and
go to the end of the chapter on conjugation. The last
nine leaves (220 to 228) are a restoration, with the date
B.S. 1259. i
‘ :
‘5 Colophon :—
iy °
a afa 2rentermfearautafactaarat arash
ATIUACATT | |
Post Colophon :— ,
Wh SS VAI aRate ufaue Fat ealagez steel |
i | Sigatamtanean: fate | WT Rw ATE are |
¢ Be ICM CCU COME. qateta afaat | a Fy,
ane obverse of the first leaf contains the following :- — a
BP is an slanatuasaangiaa feta gS “Ateqestensa
is aise |
( 203 )
Lie ,
The leaves marked 1 to 26 begin in the beginning of
the Krdanta and come to the commentary on the sittra
WANTS |
EU.
qmatuufataea, 1 to 7 leaves. A fragment.
Beginning :—
wy =
ee TAT WAITS |
arratau tata: |
AT RCH taauH: | as faarfafad aratata aes |
as fafaniee aruda fara afa eerie aaert
sgifa: | ae aiafatermancmataaran aaa aTage |
It breaks off abruptly in the beginning of Adhi-
karana. (This is the same as 4535.)
There are three stray leaves, one of which is marked
3 and contains the end of Durganama-mahatmya. The
beginning of the Durganama-mahatmya is to be found on
the obverse of the first leaf of Mugdha-bodha-parisista..
HY SUPAAATSTRA |
aqueatalaa: wqRecaga: |
RAN ctizey Cawaeaiute fas |
Colophon :—
ata aRTIae WlSUAwaAaretat SATA |
Post Colophon Statement :—
Slamagea ra race Stele
f One stray leaf contains agai qagfastaata * |
The obverse contains some Udbhata Slokas.
( 204 )
4528.
3393. aTaanaiaat | Balaka-bodhini.
By Vallabha Vidya-vagisa, son of Shyama-dasa
Miukherje.
Substance, country-made yellow paper. 17x65 inches. Folia, 22°05
Linvs, 7, 8 on a page. Character, Bengali in a modern hand, Appear-
ance, fresh.
_A mere fragment going up to the suttra arat. It
comes abruptly to an end. 4
See I.0. Catal. No. 858, in which it is stated (hata
quotations are to be met with in it from the works .
of Durga-dasa, Devi-dasa, Ramananda, Vidya-nivasa and %:
Vidya-vagisa (perhaps Durga-dasa).
4529.
(822. ATAATASTAT | Maugdha-bodha-tika,
A commentary. “By Kartikeya Siddhanta.
For the manuscript see L. 1604.
A commentary on the Mugdha-bodha Grammar of
Vopadeva, which ends with the chapter on Krt. The MS.
contains only the last two chapters, Tibanta-pada and
Krt-pada in two separate paginations, Tibanta in 190
and Krt in 94.
After closing the commentary, the author, after
showing humility as usual, gives a genealogy of his family
beginning from his great grandfather, an inhabitant of
Vaidya-danga, which Rajendralala omits to give.
aq staf gut ast awd ararmey aq |
queaqndwie ag areata fa ga |
( 205 )
qatmaaa ta: aa: RITRATBAIL AT
qe ag asa fraat ara8aa |
RA BAW fafauqagat qaeterfaarest |
aquat zmHzat fafeaquiafa wWlaHitea FUT |
aqua Pisa RWAGT Ts wtiafaat TEU |
as Stara aracfateat atafeerafae
aaa fazat qataafaat cit quteitaat
fazqastcmt naqgy featatartattateet |
tavstafaatfaat ataamrstas faentteet
watwiaad yeTuRMAa FET AETIaa! I
Stefe: | alent safa. sttera: eeata: | aaTaSTt Ae
caataat saat |
qa a | fafead gay asizafa araa’, ete.
4.530.
823. The Same.
By Karttikeya Siddhanta.
It contains the commentary on the Taddhita-pada
of Mugdha-bodha.
For the manuscript see L. 1605.
Post Colophon Statement :—
AMAT WARE 2otR AWaAGIETM RU oftererars-
wat fea | | Stefesaafa | :
It often speaks of Vidya-nivasa as an authoritative
and the early commentator and appears to be very
modern as quoting and refuting even Durga-dasa Vidya-
vazisa, “He consults also Sri Rama Tarkavagisa, \<asi-
Svara, Vacas-pati (27B), Kama-dhenu. )
me) Dela :
% Eine y . é . r
- fa :
pale, Bs
( 206) s
ef
» a
4531. i,
im 702. BA@AAES: | Setu-samgrahah-
A commentary. By Ganga-dhara, son of Siva-pras ada
Tarka-pancanana of Ik umara-hatta. 3
Ra For the MS. see L. 1540 and for the work I.O. Catal.
me 362. a
The commentator was a Pandita in the Sanskrit
College, Calcutta, in its early days. _
The Tika was composed in Saka 1757 = 1835 ALD.
1.¢, 12 years after the foundation of the Sanskrit College,
Calcutta, and the present manuscript was copied in Saka
1766, nine years after the composition of the work. | a
fasngrae: win alfararmiteasa ;
aoe agqaiea arsfewaad Fat ||
StSTt Weer: (ode |
4532. |
3378. Puargewarza |; if ugdha-bodha-parrsistam:
By Kasisvara. |
° te
Substance, country-made paper. 14x33 inches. Folia, 61. Line
Z 7, 8 on & page. Character, Bengali of the eighteenth century. Appeal”
b | To the end of the chapter 0° Conjugation.
a See LO. Catal. No. 872:
2 ' . .
eee A533. - a
: Caran yy
eee 3873. The Same. i?
oo pagers Substance, country-made paper: 13x 3 inches. Folia, 49, of which
ae il to 14 are Missin o. “Lines, 6 08 & page. Extent in slokas, 900. Chara’
So ABS
Oe sae ; :
e hires pws ; el BS +,
: ‘ - oo
( 207 }
4534.
3392. The Same. ;
(Ardanta chapter only.)
Substance, country-made paper. 16})*4 inches. Folia, 8. Lines,
7 on @ page. Extent in Slokas, 290.
Character, Bengal of the early
nineteenth century.
Appearance, faded.
Beginning :—
S° TAHT WIUMITTS |
aITtata aaa faa fase: |
aqua faateargtieetataafeafes Ta |
Colophon :—
afa sa taritaaagraratae fad AT AUeMS
SATHA |
~
4935.
S115. arya ufrfaeA | uM ugdha-bodha-parisistam.
By Nanda-kisora Chakra-vartt Bhattacarya.
Substance, country-made yellow paper. 12}4x3} inches. Folia, 4
(marked 1 to 3 and one not marked). Lines, 7 on a page. Character,
Bengali of the early nineteenth century.
Appearance, fresh. A mere
fragment.
Beginning :—
staat svafa |
qreraq Taufefmisa |
ae alien fazuae: | as faarfatad qicatata TST | |
as fafauues area far afe cette WHET
sate: | aw amfaturancrafearat RTAATU |
In the leaf marked 3, it deals with Karana. The
leaf unmarked is written on one side only and contains
the beginning of Taddhita.
( 208 )
4536.
‘ : 3325. The Same.
Substance, country-made paper. 16}%3 inches. Folia, 25, Lines,
6 on a page.
nineteenth century.
A supplement to Vopacdeva’s Mugdha-bodha. For
the beginning of the work see L.O. Catal. No. 873. The i
present. } MS. contains the chapters on Karaka, Samasa,
and Taddhita. The MS. described in L. 2210 contain
those three chapters only.
Appearance, old.
’
4.537.
3328. ATCTHAAMA | AKaraka-laksanam.
ecountry-made yellow paper. 153% inches. Folia, 9
Extent in Slokas, 515. Character, Bengali of the early i
y. Appearance, fresh. }
Substance,
Lines, 9 on a page-
nineteenth centur
It ends :—
qgqrasee qa sataReMTa a |
AATARAIMAT A WEA WAWEAT |
It begins :— +
aA RUAITANAS | Read srfewentyqa 7
aaits |
RAR HLM GT HAT WT AHA |
: aga caramel aTcatfa ae-y
salqatanea gataawt feat | :
SAlTAMCAR Wea ia saa fe |
age q vrea featarat sera |
factiat auto vtat cata aiiz wat | ae
aa T aqal q wwTeTs vathlat | i
eat QRaets AITSTE g BHAT | e
eo
- a’
‘ a
ae s ¢ un
i. rer d JF 4 )
( 209 )
Sailgafaata yates weyara |
Se TSAI Bears wt ae ate |
tafe qual are: wre Acay wy waa |
Zae |
A lucid exposition in verse of the chapter on Karaka
of Vopadeva’s Mugdha-bodha. It is very rich in quota-
tions and very useful for a scientific study of the Syntax
of Sanskrit.
AS3TA,
10708. AITHATS! | Karakollasah.
By Bharata Mallika.
Substance, country-made paper. 15x3% inches. Folia, 7. Lines,
| 5,6 on a page. Extent in Slokas, 140. Character, Bengali. Date, Saka
1677, Appearance, old and discoloured. Complete. ;
A treatise on Sanskrit syntax by Bharata Mallike who
belonged to the Mugdha-bodha School.
Colophon :—
sfa @a—wfewt—urad qaar—merya tena
=f TALASARA-HILATAA! SATA! |
Post Colophon :—
STAIRS: Vantae ETacy | BARA CATT
ygoo—— gr FHT WWI |
Beginning :—
Saararaaratey seat weaSaEt |
Kruita RRA vaya acat HAT |
aren wiq feared feat wae Tad |
uraateafaat Peat RAAT |
amas atataq alates fearat |
a BTafsaqar wal Aaa AAAT |
2'7
°< an, ATS
ER ~ a5
A ~
<2 re
*
~ Bix
+
a '
_"
or.
ees :
$r',
. y
7
Substance, country-made paper. 94x44 inches. Folia, 16. Lines, 11
on a page. Extent in Slokas, 400.
1494. Appearance, old. tT;
ASIcH-t asa a ess PSA -T1g R- HS TPA AT-BAT
ages | HTS aya fea-aeaagaele
giu qeatacaafe |) 2tt |
Substance, country-made yellow paper. 12x24 inches. Folia, 3 ¥
Lines, 5 on a page. Character, Bengali. Date, Saka 1736. Appearance,
fresh. Complete. ay
( 210 }
adHlsaiagaared Beier Setfeat: |
strat vata atfaee: aet urfa ABBE |
fad fad H wTaAASAT HAT: |
The work ends :—
atcatan fafa: eer wars ufeattaa: |
fawcny fasaerate aH
4535.
9455. MlaHeUZa: |
S
By Vopadeva. ie
Kavi-kalpa-drumah.
Character, Nagara. Date, Samvat
ie:
The first leaf missing. See 1.0. Catal. 875. | a
Colophon :— | \ fone
re
gfa diatafactaa: afaeaRat ATH UTqUIS: WaTH |
Post Colophon :— aa 4
af oieaq (eee we ars afe ae get wee aaa
a
oe
api Hag ee
meu uaa eefaatte) fon att
4.539. |
4378. The Same. br rf \
Post Colophon Statement :—
WIG LORT-0-Reo-k |
( Si y
4540.
9182. The Same.
Substance, country-made paper. 163% inches. Folia, 24. Lines,
5 on a page. Character, Bengali. Appearance, old and discoloured.
Written in a beautiful hand of the early nineteenth century. Complete.
Colophon :—
sta Hla Res: SATA: |
4541.
71785. The same with commentary by the author,
entitled Kavya-kama-dhenuw.
Substance, country-made paper. 105 inches. Folia, 4. Character,
modern Jaina Nagara. Appearance, fresh. Tripatha form. A mere
fragment.
4541A.,
6776. Lhe Same.
Worth the same commentary.
Substance, country-made paper. 1035 inches. Folia, 6. In tri-
patha form. Character, modern Jaina Nagara. Appearance, fresh. A
mere fragment.
A541B.
6976. The Same.
With the same commentary.
Substance, foolscap paper. 9x4} inches. Folia, 13. In Tripatha
form. Character, modern Jaina Nagara. Appearance, fresh. A mere
fragment. ‘To the end of the bases ending in @.
4.542.
S868. ATeayTRT Tay: | Kawvya-kama-dhenuh.
Substance, country-made paper. 10x5 inches. Folia, 61. Lines, 9,
10 on a page. Character, Nagara of the nineteenth century. Appear-
ance, discoloured. Complete. .
See I.O. Catal. 877, 878.
|
|
|
( 212 )
4545.
2837. Lhe Same. ‘
: . i . Lines,
Substance, country-made paper. 143% inches. Toles aa aan
Jona page. Character, Bengali of the nineteenth centuly- Se ate oe,
fresh. Incomplete at the end. — o
4544.
385. The Same.
Substance, country-made paper. 154 inches. Folia, 46. + ee
8 on @® page Extent in dlokas, 1288. Character, Beng@ll- Datos ake
1773. Appearance, fresh. Complete. ae
The Post Colophon Statement :— i
qt mate a: qcufaataa: witearat aS iy
Uae awMara GaAT_Iaat wy arated atta | ol
ae: wree-araitataataeatea mp at quat
fsisariaa afaqguioaa: Hurfaataes |!
VHTASaA WA |
tied stefeeqale-sI TS GET |
WREAT ®OOR ata farates |
4545. @
4580. The Same. . ’ i
‘ - Sy ta I;
Substance, country-made paper: 13}x3inches. I olia, #4. Tine
8 on a page. Character, Bengali. Date, Saka 1511. Appearance, ©
4g %a)
C Writing effaced in many leaves. Complete. e. 7
we iy
Post Colophon :—
WRIT LUA® |
4546.
4552. Lhe Same. .
on & page, Character, Bengal. Date, B.S. 1241. Appearance, ‘frost .
Complete. ress
( 213 )
Post Colophon :—
7 ®Rs® Blea atfeag eR sraw! Atareniess.
geam: fafatea qrat cea |
4547.
3336. yTqatfaat | Dhatu-dipika.
A commentary on Kavi-kalpa-druma.
By Durga-dasa.
Substance, country-made yellow paper. 154x3% inches. Folia, 73
Lines, 8 on a page. Character, Bengali of the early eighteenth century.
Appearance, fresh. Complete. ro.
Z , AR
Ihe MS. gives the date of the composition of th
commentary as Saka Soma-rasesu-bhimi, that is, 1561=
1639 A.D. The verse runs thus :—
Win atatee-afantasa sera
qufete SAT VHT faget Aa qatyata |
cima fayletmat ufaue aera ae
treat faz utd sraqnrest witafamifsas i
In the next number the first line of the Sloka, giving
the date, is written otherwise.
In Siva Narayana Siromani’s edition of Kavi-kalpa-
druma we find, in the place of the chronogram, TTF TATA
2 Durga-dasa Vidya-vagisa is generally accepted. as the
son of Vasu-deva Sarva-bhauma, the well-known leader
of the Naiyayika thought of Nadia, who flourished in the
fifteenth century. This belief ig absolutely unfounded. |
As to the real age of our commentator, the genuine-
ness of the above quoted chronogram is open to doubt,
having regard to the different readings in its place, as
( 214 )
a
shewn above, but we are supplied with two landmarks
of his date by Durga-dasa himself. ry
i
i (1) He speaks of Vidya-nivasa in the pretace to his —
it commentary on Mugdha-bodha, as the first commentator, —
| followed by many others. So the difference botyeeia
their times, is evidently great. Now, this Vidya-nivasa, —
we have strong reasons to think, was no other than the
father of Vi8va-natha Tarka- -pancanana. He is always
mentioned by his title, Vidya-nivasa, and never by name
(Kasi-natha). No other Vidya-nivasa of any reputation — ..
is known. This Vidya-nivasa was the contemporary i
Akbar. |
(2; He quotes and refutes even Rama Tarka-vagisa,
whose living descendant is ninth from him.
see I.0. Catal. 880.
4548.
4016. The Same.
Substance, country-made paper. 1542} inches. Folia, 101. Lines,
6 ona page. Character, Bengali of the eighteenth century. Appearance,
discoloured. Complete.
Colophon : :—
TIFTAtTA aa TT fala aA TAA eupeta £al-
aare faget Stat aatatafs | sarf= |
ata sala eae aitaag areas sn zaferatea
atriatactaat siqetfont aa alaneaeAetat BATA |
4949.
5114. Whe Same. ‘
Substance, country-made paper. 17x4 inches. Folia, 60. Lines, 8,
10 ona page. Character, Bengali of the varly nineteenth century Ap:
pearance, fresh. Complete. |
pan: —
by Sate Ter araqettyar Sarat |:
~
4550.
10669.
Substance, country-made paper. 132 inches. Folia, 27. — Lines,
5onapage. Character, Bengali of the eighteenth century. Appearance,
‘old and discoloured.
A book of Sanskrit roots.
Beginning :— | a
TAT WHIT |
wart, feat wast, wa sraaaas, Ufae aqlaaa.
afax wea, ay fastest :
Last Colophon :—
xfa Sa Sareea: Barat | shete We |
varqetfe featfea, etc.
4551.
1680. Yuet | Dhatu-manjarr.
By Kasi-natha.
Substance, country-made paper. 114x43 inches. Folia, 365. Lines,
llona page. Extent in Slokas, 1,100. Character, Nagara. Date, Samvat
1713. Complete.
Colophon :—
sftaratiaraaat uTqagqet wefenu aatad atd-
Aaa |
Post Colophon :—
art? WAY WAITaAe TCE LIC ACS Ci aad
(9°38 Fa AWM Ba AIA aarateat faut guatae
wate | RUA sew aan LAs |
The work beguns :—
a ta UaAIa quar agawHel |
QUART Alar Saat alata TWAT |
( 216 )
7 araqai | aat ura arat faqaraar!; wafa ca: ate aa
TTA TAA TTATaE
his work belongs to the Panini School. It gives
illustrations to explain the meanings of roots.
4551A.
3512. AICTHaAeeAT | Karaka-candrika.
By Rama-candra.
Substance, country-made paper. 193% inches. Folia, 24. Lines, 6
on a page. Extent in slokas, 700. Character, Bengali. Date, Saka,
1631, Appearance, discoloured. Complete.
lt begins thus :-—
Waaraaetas Uae Haas
Taq HleRdiRa URNA Sterawst fest |
aTq-aatyaaaaAady qayamiTmaAat
aaqaneg fmaragy twa: Stare cert] !
The object of the work :—
qemltaAlio aaa Satqmaar feat |
faufasta fasiaaay aiafaseat |
Eas WU aagqqaat aaas: aaayafale}sta qx yuk
aealcnta ante | eravh:, etc., etc.
This is a clear exposition of the syntax of. Sanskrit;
based on ancient Karikas on the subject.
Then we get the date of the composition of the
work :— | |
aiaaytad (?) wie oats ata faa |
witwatey At (?) crassa fuqgee | |
[ put a query on the chronogram because ‘the work
cannot be so early as it quotes Supadma. Vyakarana in
page 9B and the Smartta Bhattacarya in 20A.
Colophon :—
sfa oapluaustaaamerretar «= Iearaheart
aarata | |
The scribe’s note :—
Sia afta: arantamfaad sleraary-
fanwy aTaatTaee | Waa Vesa |
4SO5S1B.
3394. ATTARATST | Varttikha-mala.
By Rama-candra Vidyalamkara, disciple of Jagan-natha
Tarka-parncanana.
Substance, country-made paper. 16x4 inches. Folia, 24. Lines,
5 on a page. Extent in Slokas, 480. Character, Bengali in a modern
hand.
A collection of the supplementary suttras from
Durga-disa’s commentary on Mugdha-bodha by a student
of Jagan-natha Tarka-pancanana.
Jagan-natha Tarka-paficanana was a very learned
Pandita of Triveni in the Hooghly District who used to get
a pension from the E.I. Company and who wrote a Code
of Hindu Law for the use in the Courts in British India.
The author was a pupil of the Pandita.
It begins :—
— SPLSTTRTA AT STS Slag! aH WA Va |
AISA aq uz aq argyd uz? |
aS HIATT HRM AR |
wat aifanaled WHaSM aay |
- ‘It ends: — |
fagifanaaqarfefaad: wars: BaIq
Wagaya qaacamaratfaaage |
28 :
aa yfafaaraaraasaagiaa ararfa a
argqaaaeay fearast aeaograa: |
TETAS ATTA Aaa RAAT !
WAT VTMAlal la Has ufusaausat |
Colophon :—
sfa Shorawefaqreagie—ararietaa—arhiaaret
QATAT |
4551C.
1072,
Substance, country-made paper. 101% 35 inches. Folium, 1. Lines,
15, Character, modern Nagara. Appearance, fresh.
This leaf contains some examples of Sandhi, with
rules,
SUPADMA.
4552.
4758. QUAUTATUE | Supadma- V yakaranam.
By Padma-nabha.,
_ Substance, country-made paper. 154% 34inches. Folia, 170 by count-
ng. Lines, 5,60na page. Character, Bengali. Appearance, new.
From the beginning to the end of Samasa. Of Tad-
dhita the MS. has five leaves only.
See [.0. Catal. 883, 884.
The author lived in the middle of the fourteenth
“entury in Mithila at Bhora-grama. See below.
4553.
4592. The Same.
Li
Substance, country-made paper. 19x83 inches. Folia, 186. Lines,
» 6ona page. Character, Bengali. Date, Saka 1730. The first leaf is
missing. Incomplete in the beginning.
Published by the late Pandita HrsikeSa Sastri.
Last Colophon :— :
sfa = Wugqamednal way aad weATsars |
aatnee wiancufata |
Post Colophon :—
RTT YOR |
Although the last leaf is marked 186, there are 11
leaves more, as Nos. 30 to 39 mark two sets of leaves and
after the second 39th leaf there is one more leat
marked 39.
220)
IT.
Substance, country-made paper. 163% inches. Folia, 21. Lines,
10 ona page. Character, Bengali of the early nineteenth century. Ap-
pearance, old. Complete. }
This contains a portion of Dhatu-patha of Supadma-
vyakarana from Bhuvadi to Curadi.
on,
4554.
3507. QaWARTeS: | Su padma-makarandah.
A commentary on Supadma by Visnu Misra.
Substance, palm-leaf. 17x 1} inches. Folia, 135. Lines, 5 on & page.
Character, Bengali. Written in a neat, small hand. Appearance, dis-
coloured. Date, Saka 1635. To the end of the second chapter.
See I.O. Catal. No. 885 and H.P. ., Vol. I, 408, and
Vol. III, 353.
Colophon :—
afa quyHaeee featatsera: |
The scribe’s note :—
wie aatsase wautetad ates arte aat
qt faxnai fara TSU Fars 2tat ATH |
atat atugfaatica afanai west Taya
Welt ames yu wad Feqaay ger |
fa stag wqacufactaa-quyatacug featargra fat |
saturafy 4 <tat wat aad ATE |
atta Ga as Ahad wa wz |
afa ayer: Giaifas waa |
4555.
7985. The Same.
Substance, country-made paper. 144x4 inches. From Pada .
Kadamba to Aluk; each chapter separately paged—4+15+17+16 (of
which the eighth is missing) + 37 + 9. Character, Bengali of the early nine-
_teenth century. Appearance, old and discoloured. |
A fragment of Supadma-makranda by Visnu Misra.
4556,
7993 USAT | Supadma-tika.
A commentary on the Supadma-V yakarana.
By Rama-sanrkara Tarka-pakcanana.
Substance, country-made paper. 15$ x3} inches. Folia, 10. ‘Lines,
Jona page. Character, modern Bengali. Appearance, fresh. A mere
fragment.
Beginning :—
AGT CUTS SS AAAI TAG |
TaaiteHaHialad seaizaa aut |
THUS aA afer VUE T |
suey aq clat gaa ava wel |
Yor this short commentary see I.O. Catal. 852.
4557,
3511. UfTATAT | Paribhasa.
By Padmanabha.
Substance, country-made paper. 17x34 inches. Folia, 20. Lines, 8
*napage. Extent in Slokas, 750. Character, Bengali. Date, Saka 1714.
Appearance, discoloured. Complete. 7
Colophon :—
ata slaqaieatacfaat ufearatata: SATAT |
Post Colophon :—
| qataaAgRaATtod [1714] aH fea aes
aacitaaa cat aafaut wars + aaa |
ale atHaa sfaaq ufxgat wraty ETAT Get
qeg ana: faa: gera: wat wa TZ I
“hh aA waa S* aNT faaa, etc., ete.
For the beginning of the work see 1.0. Catal. No. 890.
! -
|
|
i
|
~
+
~
( 22
)
The work concludes with the following Slokas, giving
an account of the author’s literary activity and his
genealogy :—
qaT Bata WMATA Ea SCAT |
aaa saaMaAcAa Btuiaaw faze |
Utfmaar(? Aaa aaa AAT AT RATT |
aa Gata fad acdahad aeoarfaaqaq |
feqqra cfd faq aaardfaarras | |
wapyaar wer Aagaafaateaa |
Vat Brace: Auge femay :
aat aaHataly Vata stfaar |
zurfzeat cfaat agra arate |
aaq aeqat ofa afeureat aa uTH |
aioraatad (?) aa wifes ayaa |
DMASAS TCH WalatalearsAt |
ara afore <faacraaaa: |
sia: Bagqataa wea wWaasta: |
SAAT UAUTST FT! WAIT AA TRAT |
AQaiswaat walatal wa ws Ws |
a faeee (7) wet ae famat aa wuts |
RATHI HSA: ASST |
waa aah: aorareafamiee! |
daa wees wiaareasarafad |
aaat Faet Ba urfwttarwiaatad |
Waa AAMATMAATET: |
aafmaaas aera awiTs: |
TUILGATA HTU AA UIT! |
yIgugMaas LHAFAAITA |
eaquaaday” Aaa wa aa
or (aza-argaratag ) 1
( 223 )
A SRA Sa wWrawtrantantag |
aaat wae Feit Hfaaua: |
cae ea AS RI AS ARITA! |
Tara: UWMATS Aasatansda 1
Then the scribe’s note :—
aaq(at afta slewoguts: ugqaw xequeea ats
ae Yate Blewiesragqa sata wfatte: at fe
Seagtat swuTay | wal aqutss dauerter: aT
lenaaiseat wWeamiis —eafacte | aaa
CSUs |
aq: Ba ywaUtsa attafa a ewwa |
4558.
Lhe same here called.
404. UOfeaTaTeafa: | Paribhasa-vrttih.
By Padmanabha Datta.
Substance, country-made paper. 132x2}inches. Folia, 33, first leaf
missing. Lines, 6 ona page. Extent in Slokas, 858. Character, Bengali.
Date, Saka 1641. Appearance, tolerable.
It ends thus :-—
Ufa aaH TAI ey fea TTATAT AAT |
qa gated acyafax aeTM AT AHA T
fecata efad fq aaarafaataad |
Vataag Wee wugqanasfeaa |
Sat MAUI: Gage ufyar |
aat fe araarara qajyautat aw sttaat | |
surfeedizhaat sare wigateat | |
aqaq aegqat Tha afearat aad Wee |
aot,
aoeatea ata ates oa
saeaeetatat Ztat ara fataf eat |
eCta eeta a waar
, ate afouainieant tPaamiaaqaa: |
aie Staats waa waasta:
aaa Utada 4: HaHa WRT I
Colophon :—
ata staqaasatactaat ofeuratzta: Sarat |
AVA | WATT || URS
SAT: @iaetas wae) wae Fae
Ata |
4559.
3785. The Same.
Substance, country-made paper. 15x21 inches. Folia, 41. Lines,
5, 6 on a page. Extent in slokas, 600. Character, Bengali. Date, Saka
1722. Appearance, fresh. Complete.
Colophon :—
fa stugqeatueufactaat ufxauratata: Sarat |
Post Colophon :—
GAS Dy WA |
wareMataas ufefaa wih fadt wae
wget ateatae fraget: wrerefaes get |
aat Slfancranatatear gaffearat yur
TMEY Went yaaa: Paiqgqeiaraat |
Bete: WMA |
This MS. does not contain the genealogy of Padma-
nabha, for which see our Catal. number 4557 and H.P.R.
1; 223.
( 225 )
4560.
4614. The Same.
Substance, country-made paper. 154% 3} inches. Folia, 27. Lines,
6ona page. Character, Bengali. Date, Saka 1698. Appearance, fresh,
Complete.
Colophon :—
ata Staqataeatyefaart yfearareta: Vara |
Tal BHAI: Fuge feat |
aat fe aratura gatas strat |
suifadiatuar aura wraatget |
ada asyat che ufearat aa wea |
muTaafed ata arfheanyTana |
RIACATCSTA MATA CAAT |}
ata Hfcoaiarenlt cfrawtaaaa’ |
e Fa a wa waren des BaiveraqeaweT
GaCHad TARA |
-4561.
3365. Warretfaar | Prayoga-dipika.
By Padma-nabha Datta.
Substance, country-made paper. 14Xx2} inches. Folia, 68. FAnee,
6 on a page. Extent in Slokas, 1,400. Character, Bengali. Date, Saka
1650. Appearance, discoloured. Complete. Written in two different
hands,
*
2 3
This work is mentioned as one of Padma-nabha’s
works in the previous number.
Colophon :—
, ata =uaeueatacfaatat wataettuatat afea-
aqqaea tqqua aaa |
“29
( 226 )
Post Colophon :—
Ava | wiser reduc i R1e¢
f A unique work,
< > a —
Lt begins :—
ate Alaa AMT ataarata Sthuat |
wal qaygarem vatatai fafafenar |
aA FT aaptat AaTatat HARA: |
Hai W ataatal w HAaTaars Atha: |
aaa Haina! at wenaquay faa
Fat || Wal, RH, Re AMemaAoiematuncn Ifa
qe HTCHIiO vated |
4562.
3784, aamiteata: | Yan-lugadi-vrttth.
By Padma-nabha Datta.
Substance, country-made paper.
ona page. Extent in Slokas, 240.
century. Appearance, old.
15x24 inches. Folia, 10. Lines, 6
Character, Bengali of the nineteenth
The ink has sunk. Complete.
Colophon :—
am > ee =
ata agqaTaeaaAat TaTAuay arcu aggaife
Zia: GATAT ||
Beginning :—
quay arantare faa aattan]a |
feansttagata asqat sage |
yedirayaany | | oawaetaty yew | aq Utah
Lat Tae sa WAM aa warstsfawa|
aa fa mutta sa aS meant at fa faarat xfa 2A
aa waala: eat aaifanataceia weasqa-| wd a4
ARATE ASG 7 Hata |
End :—
q2q grea; eymuugfeufsar whem war- |
Ca: aafanemt wereg: we allem: wares
WHC Ma eM | Aa Gearqatante |
Mentioned as one of Padma-nabha’s work. See
Supra.
4563. :
387. Gamay Rar | Subanta-prakriya.
By Padma-nabha.
Substance, country-made paper. 13x3 inches. Folia, 30. Lines, 5,
: Qo
6 on a page. Iixtent in Slokas, 500. Character, Bengali. Date, Saka
1673. Appearance, old.
This is a defective manuscript.
The first three leaves contain the conjugation of
Dhatus. Then leaves in a different hand, consecutively
marked from 11 to 36, contain the declensions of Sabdas,
bearing, in the last leaf, the colophon :—
xfa Sagan qaagtwarat SAAT |
Then again a leaf marked 36 containing a Kroda-
pattra:
Beginning :— . at
GF Ta HLT |
Y ulaa: wate TUTETLA qupstae uec Har |
fafaameautanreats Surfin Gat EATERS |
watfequanet gar ate A ste |
wyea vata atufa ature = |
End :— eae i
aan Wad waat wafa cealaraaud eataret
Gal qe |
Then follows the Kroda-pattra.
a i
;
Post Colophon Statement :—
WATAT E93
AAAS; aA EIA AIT ae HAW A |
oo
~ on => ii.
fafataad Birmamaems feanwat |
AD5GA,
’ 5284. HMaaan4r }
( QaweararmsTaas hs: )
By Visnu.
Kalpa-latika.
Substance, foolscap paper. Folia, 19 to 28 and A
58 to 123. Character, Bengali of the nineteenth — f
century. Appearance, fresh. Incomplete in the beginning and in themes
middle. ‘oe
134 x44 inches.
Lines, 8 on a page.
i>
Lind :—
aet Hataafaat ea SAAT |
RU Reaatant qettammat few: |) (2)
. Ws AsaAMaAeA aaa fwat (1511) faa |
a itaaats faxaita Fala BUR UA TTT: 1
fragrant Bat FAS ae |
wae sugary faa Hea Bata |
Colophon:— .
sfa naawt aaa emifwaaaufeatt
SATAT |
45668.
4045B. An anonymous commentary on the Supadma.
15x 3 inches. Folia, 6. Lines, 6
Character, Bengali. Appearance,
Substance, country-made paper.
on a page. Extent in Slokas, 120.
good. Date, Saka 1730.
Beginning :— "
eae aa: ULHSqaTS |
* . * ph
aq osifefratma seaifeqea fa ad watay
waageruaty wie | asaqifeaewyEd Ga afuea
( 229 )
THe seats sata ant ufawfay aaa
qeaSy wifes: TIAA |
sfa qaaqeutaara afaafa fa wa TAR FY
€¢ aq ataqeTdH iri azq waa efa fa wa aite
Sas ST USAT | or
End :—
samfa | aq wuaaa area faxed HaATIIERS
USIHIFIAIGR A UA Baas | aa wa ails
aaidae(tpat fasataard fafefaufererd F J
fautregia aa uta! urfefa faetw aa aty-
TaCTATa A |
Colophon :—
DA, sfa Bug aaa fara |
BATHS TT |
Post Colophon :— |
STUANRIAT: BACH uafafa | WATE LORo
S Hla |
It is called on the label @arfeate: auatte, which
WWI” is written in everyone of the leaves, on the left
hand upper margin.
4566.
D077, qSUTaAaAS - 10 Vardhamana-samgrahah.
By Krsna Misra.
Substance, palm-leaf. 20x 1% inches. Folia, 2 to 114, of which the
following leaves are missing: 21, 22, 23, 24, 25, 76, 77, 78, 79, 80 and 81
Lines, 5 on a page. Character, Udiya of the sixteenth century. Appear-
ance, old. Incomplete at both ends. )
This is an abstract of Vardhamana’s Grammar,
( 230 )
Colophons :—
2A, sfa aargancma; 2B, sfa arate; 3A, efa vatfa
afy:; 5B, fa attagaradas afar: wara:: 10A, fa era.
trag@t; LLB, fa acrac wifayrer; 128, sfa qua
mantagu@et ; LOB, sfa qgqara ufayseer ; 20B, xfa qsara
aifayueet ; 34B, sfa areaqra eaiet ucequcutHat : 36B, rarer
zatet aataeufaat; 387A, sarea sifeufmat; 42B, sfa
AQaiwit Betateufsmar: 43 3, saregra fearfeufHat; 44A,
sAleatd aifeutmar; 45B, sateara auifeufsat: 463, o attfe-
OTHaAt ; 49A, o ema utmar; SLA, © aaa t fara utmart; 522A;
0 aa tfaag qrautaHat; 52B, ¢ sma ufsar; 55B, sare q1a-
atgutmat; 59A, ¢ uzqawr; 633, sfa =tafaatctaa asan-
OS Bregqianfaat SATAT |
Post Colophon Statement :—
wmnacinga feateat fauo fateafad wea |
66A, afa aqufaat; 82A, sfa wee apfaaa; 84A, zfa
aIeH factiat vam; 86A, xfa aE aqui yaRcue ; 87B, °
uyat vax; 89A, o ast uaxcma; 9OA, o aRdl vacua:
103A, afa aatamiea aaaagufaat; 1O7B, xfa o asatfentaat;
114A, sfa stamfaatactaaai agaraufearai aarauie: ware |
Post Colophon :—
stefcufasarg | stefe: urarfeaa |
With this there is a copy Sruta-bodha of K4lidasa,
complete in two leaves.
4567.
388B. StlATATSASTATUA |
Hari-namamrta Vyakaranam.
By Jiva Gosvami.
_ Substance, foolscap paper. 124x4 inches. Folia, 19 (the first three
leaves are extra). Lines, 7,8 ona page. Extent in Slokas, 456.‘ Charac-
ter, Bengali. Date, Saka 1744. Appearance, fresh. Complete.
( 231 )
For the work see L.G.R. No. 1136. But the MS.
described there is defective, wanting in the first three
opening verses and coming only up to the end of the
Akhyata-pada. Our MNS. is complete.
This is the standard grammar of the Caitanya sect
at Vrndavana written in the sixteenth century.
From a comparison with the next number, this will
appear as a shorter version.
It begins thus :—
amquifaqay waits a atarafa aaa (?) |
afxa faateat (ar) a@ifeata aerate | 2 |
atwasfaanfe(ena eet WeTqMEaaata |
eforrarataatad grace TaATIAT HAs | _R |
qimta aafa cfasttaagqan weraafaat: |
efealareadag faq Wautanteale | R |
Srett aye aati efeatared te |
grata wa aga faagq anaifat i.
asa uifesiay at wt SaaHa AT |
ARISTA TEUMTARETaTe fas |
ATIF EAST AHA! | WHIMS laa | TaTggrecaes |
Sar nai warcfaaniat qa: | x F wat TMi aT! TS
vaMimTate: | | Kees |
4A, sfa steferaiwadfanamamiaed sea ateani<
Gay: |
8A, afa Steftatared S agate PAA: TATA |
LLA, <fa samara weatated fase We! SAH |
12A, efa Steteataes SapqatHea BRTAITS! AATH |
13B, ¢ RICRATS! AATH |
I5A, ¢ AHTHUTS! BATH: |
15 B, ¢ afgaute: SATA: |
16A (the last colophon), ° gafaeqa aatHa |
It ends thus :—
i aM AMIS At UsTaatS la AT |
{ afafaata(#t) faatawm afafaaad | ¢ |
ug 73 was ana feaqdat: |
Ya ASW uletay Waafaszat wa: |
Lhe Post Colophon Statement :—
~ ea =e -
aaa fafeat oat Fat Alarm ala. ete.
WAIT 2982 |
: 4568.
8142. The Same.
Substance, country-made paper. 17%x3 inches. Folia, 2 to 57, of
which foll. 28 to 54 are missing. Lines, 5 on a page. Character, Bengali
of the nineteenth century. Appearance, fresh.
The chapter on Akhyata only.
4569.
165. The Same.
The MS. has been noticed by Dr. Rajendralala Mittra
under No. 423. The MS. is complete in 37 leaves and
extends over 600 Slokas.
This also is the shorter version.
The Post Colophon Statement :—
ate aeruearagifartat
RATATAT HH TAT |
ae aaAetaanai faua
aat alateatat fraaeq |
( 233 )
staraar wifsard afag:
aalarayar(a yeaa (?) aware |
aatat(atjyaarartasy Qua
aa stamtaitaa faae |
NAMATH AA: |
4570.
8191. Wada ear | Prabodha-candrika.
By Vaijala-deva.
Substance, country-made paper. 10x43 inches. Folia, 25. Lines,
Jonapage. Extent in Slokas, 500. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Vaijala-deva is well-known, under whose distinguished
patronage DeSavali-vivrti, a Sanskrit gazetteer, was com-
piled.
He was a jagirdar at Patna in the first half of the
seventeenth century
Prabodha-candrika is a good, elementary grammar,
intended for the author’s son Hira-dhara.
See Oxf. No. 370; L. 2558; W. No. 1635 and I.0.
Catal. No. 898.
According to the colophon of W. 1635, it is composed
by Visva-Sarman.
4571.
9865. The Same.
Substance, country-made paper. 94x44 inches. Folia, 14 (12 to 25).
Lines, 9 on a page. Extent in slokas, 266. Character, Nagara. Appear-
ance, fresh. ,, Incomplete at the beginning.
Colophon :—
xfa sae Ssreaquramart watrafyat SATA |
30 :
( 234 )
4572.
6707. The Same.
Substance, country-made paper. 104%43 inches. Folia, 17. Lines,
12 on @ page. Extent in Slokas, 460. Character, modern Jaina Nagara.
Appearance, fresh, Complete.
An elementary grammar, in anustup slokas, for the
benefit of hig son Hira-dhara, by Vijjala Bhuipati, the
author, who ig here called Patanadhinatha He seems to
‘have been a Zaigardar of the Mogul emperors. — It was
under his Patronage that DeSavali-viyrti, a work of the
nature of the “Imperial Gazetteer’? was undertaken by
Jagamohana, |
See Oxf, No. 370; L. 2558 and W. No. 16385.
ADT2A.,.
1664. Whe Same.
By Vaijala-bhupati.
Substance, country-made paper. 104 -_—— Folia, 21. Lines, 9
on @ Page. Extent in glokas, 450. Character, Nagara. Date, Samvat
1890. Appearance, fresh. Complete.
Last Colophon :—
ata yatuutsal SATAT |
Post Colophon :— ae
Re Gee LIAWCURTEL aaa aatea wea a
taut | waq see Be fafa aret cfaal Bet uf_al
FTITae | Blea! |
For description see L. No. 2558.
About the end of the sixteenth century Va@ijala be-
longing to Cauhana family of Rajputs held four ‘ Pargan-
nas” in and about Patna with Patna for bis principal
residence, He was a man of some culture. He employed
eo
( 285 )
Pandita Jagamohana to prepare a topography of 18
different countries in Eastern India and Indo-Chinese
Peninsula, and Jagamohana wrote ‘ DeSavali-vivrti’ now
deposited in Sanskrit College Library (Calcutta). Frag-
ments of this big book have also been collected for the
Government collection in the Asiatic Society of Bengal.
Vaijala’s death and cremations are described in the
Desavali. |
The present grammar in verse was composed under
his orders by VisSvasarman (see Colophon W. 1635) for
the benefit of his son Hiraédhara: and as Vaijala was a
fervent worshiper of Rama the examples are taken from
the Ramayana alone.
4573.
8186. LEATHTAUTAR | Raghu-natha-sopanam.
By Raghu-natha Kavi-kanthi-rava.
Substance, country-made paper. 8%x3h inches. Folia, 189 of which
the first 1-10 leaves and those marked 20, 49 to 51 missing. Lines, §
ona page. Extent in Slolkas, 2,600. Character, Nagara of the eighteenth
century. Appearance, old and discoloured.
A grammar following the lead of Bhattoji Diksita,
Ramasrama and Varada-raja, compiled during the reign
of Aurangzeb.
The author was a Cit-pavana feahrnii: His father
was Sarasa and his grand-father Kegava. He wrote five
works, namely,
(1) Muhartta-Mala.
(2) Raghu-natha-Campi.
(3) Ganga-stutih.
(4) Commentary on Madhyama-varttt.
(5) This work.
The works were written at Benares.
( 236 )
End :—
wWeadaute faauiaaa AWalA Hea EAT AN!
qq Haw Cay eATT fate favafa AMTSS Il
Bata VaTetar azarensqates | :
; uftezagqngeyd AG WaATIg AT ]
waa: afafacteiaa aayatcansd aatsae |
ayefeasawata: aaa aa afanaifam fi
qada ane jaa aaa et fas aa hietar
ayaAaUaAA te: WSs wfeurars |
ugitugdtfaacrarsraece rage |
aafa sated faqtmataemey gages I
sauesata vfaat araaaqay | feHaTnwe |
+ + +a fea fat ate caaraata ]
Colophon :—
afta =laeTaetargT areq +
Awa fachad TAIT Bar | AHA |
Ln a later hand :-—
Tae UH |
Feraacaaraas-
A574, )
41il, Faratarasrayesyes |
Vaiyakarana-siddhanta-candrodayan.
Lines; 3ona page
Substance, palm-leaf, 1514 inches. Folia, 75,
soiled, Jn-
Character, Udiya of the eighteenth century. Appearance,
complete at the end. Written with style.
Beginning a
spaipa tars: WLI
TRE
feccraaatasy TAU fasy |
Sraqcafesrasstet faxwqz 1
( 23% )
amazes 3 awl feast fratear |
Yaa a a fated wea wantfeaa |
3A, tfa auranema: 6B. cfa qxafar: SA, aaaafee:
lOB, afa faatatea:: 173, =fa aera: ufast: 20A, Efa Beta:
atfagt ; 22A, qarar ageatast:: 381A, eat Sifagr; 33A,
eal Waeafast: : SGA, =fa Stefeweereratagefactad fasra-
Tatead WS: eanquqi: AAA: ; B5SIA, =f a ufsat; 7OB, ata
arqotaat ; 728, «fa aifenm: earq: : 75A, efa wutfeau: Sa: |
The MS. breaks off abruptly. |
4575.
3514. WSETATART: | Sabda-ratnakarah.
By Kastsvara.
Substance, country-made paper. 17x32 inches. Folia, 164. Lines,
Sona page. Extent in Slokas, 3,000. Character, Bengali. Date, Saka
1610. Appearance, soiled and worn off. Complete. Written in three
different hands; leaves 1 to 5 by the first, 6 to 64 by the second, the rest
by the third.
Colophon :— |
ata START PENS a ey a_-WECAT HE ata BRC
GATHA |
Post Colophon :—
caramel RTT
Ero |
Lt begins thus:—
yay Hae Fe-Sqy lea Pa |
WSCA Re GA MAT arspae: Hat
fast am aware: | yafaenfas Ta quyai Uist
afzaq: 1 Fate = ear |
( 238 )
18A, sfa starr acugaea- Tea He BRC SATAE |
20A, o aaryatma; 24B, ¢ ma@uNTa HAMA; 30A, o WANA
waa ; 52B, ¢ wut HaTAH: 608, wifayoaca aaa:
74B, ¢ mlEHnReG HATHA; ISB, o sfa BarauHca Band:
106A, xfa sttarstracugreitathaam=earat afgagaca wan;
140A, xfa wraaeHaate: sata; 1403, sfa arsthacagrarrfae
faa Vat BTqaHe Aaa; 164A, ReHTA |
This is a unique grammatical compilation. It follows
Mugdha-bodha in the arrangement of its contents, but
uses technical terms of Katantra.
It ends :—
Wiest aad aayaaife | wy aeaqQea ayaa |
The MS. also contains a fragment of a commentary
most likely by Bharata-mallika, on Bhatti (1 to 31)
(although the first leat is marked 1, it is not the beginning
of the commentary. It contains the commentary on the
verse beginning with aM AGL saxctsratut Canto | II): twenty
leaves 109 to 128 of Mugdha-bodha from the beginning of
fi to the end; three leaves beginning with ay faaqqet
faema fasra waat; four stray leaves; the first two leaves
of the commentary of Amarakosa, called Amara-panjika.
4576.
3523. LAAT ATU | Druta-bodha-vyakaranam.
A grammar of the school of Mugdha-bodha.
By Bharata Séna.
Substance, country-made paper. 15x 3% inches. . Folia, 85 by count-
ing. Lines, 5,6 o0na page. Character, Bengali of the eighteenth century.
Appearance, discoloured. Incomplete at the end. The MS. comes to an
end in the beginning of the Krt section.
See L.G.R. 20 and J.O. Catal. No. 907.
( 239 )
It is a rapid sketch of the Mugdha-bodha. The
his great-great-grandson. The author was a Vaidya by
caste and was a high [sulin in his caste. His age is about
1750 A.D.
4577.
2803. The Same.
Substance, country-made paper. 13x34 inches. Folia, 5. Lines, 6
ona page. Character, Bengali of the nineteenth century. Appearance,
discoloured. Fragment.
Beginning :—
May vada Sa fateucrana |
RATATAT vcat faewa |
4578.
3539. ATTHIATS: | Karakollasah.
By Bharata Mallika.
Substance, country-made yellow paper. 18x3} inches. Folia, 4.
Lines, 9 on a page. Extent in Slokas, 130. Character, Bengali. Date,
Saka 1760. Appearance, fresh. Complete.
Colophon :—
cfa Diaqiupafearassacasrast ACATATS!
GAH |
Post Colophon :—
TUR BlUIA Aa aziAay aq |
fafa: alaateta: Sieapaeaa I
WARTS! POE |
See L. 2412.
As for the date of the author there is the fact that his
sreat-great-grandson was living till recently. :
author lived at Jamga in the Hooghly District. I saw
( 240 )
4579.
5138. The Same.
Substance, country-made paper. 15% 3% inches. Folia, 9 of which —
2, 3 missing. Lines, 50napage. Character, Bengali. Date, Saka 1744.
Appearance, discoloured and worn off.
a
Ts
Colophon :—
afa o stucaqdana: aicateaie: SATE: |
Post Colophon Statement :—
Starataera, ete.
SSH Lea Ma: QaAfas VARY | WATER: owe
atfas % FyIG |
For the work see L. 2412.
4980.
930. WaATITAATAT | Prayoga-ratna-mala.
By Purusotiama Bhattacarya.
For the manuscript see L. 1819, and for the work see
1.0. Catal. No. 895, where it is stated to have been
composed in A.D. 1772. Printed with commentaries at
the Raj Press, Cooch Behar.
In the third verse Rajendra-lala reads 2ta~aztaq in
the place of staweae@ |
Post Colophon Statement :—
StSUTMLM || Sh az: |
wih wtyaVaatafatAa 1721 sae fearg aa
UF ASMA ALCS ywlazaqasz |
areatsagayratagyantattaare fest
3 TSUATAATCL SA uta Gis tafeaued |
Lhe Village Sukha-ségara has now been washed away
by the Hughly.
( 241 )
4.581.
3974. Tatars: | Vakya-Govindah.
By Ramesvara Sena.
Substance, foolscap paper. 81x43 inches. Folia, 43. Lines, 10 on
& page. Isxtent in Slokas, 1,000. Character, Bengali in a very modern
hand. Appearance, fresh. Complete.
Colophon :—
ata alorraceanad qeamfacagraca fare
wae HATHA |
Post Colophon :—
UA Ro Aa |
For a description of the work see H.P.R. Vol. II, 184.
Where the author gives his genealogy and says he lived at
Kabjapada. He was a Vaidya by caste.
4582.
73271. TAT: | Sisu-bodhah.
By Kast-natha.
Substance, country-made paper. 10x4} inches. Folia, 4 of wees 2
is missing. Lines, 15 on a page. Character, modern’ Jaina Nagara.
Appearance, fresh. Incomplete.
Beginning :—
weatantara AAT MATAA AE |
fara arriaraa faryatat faitaa: |
Colophon :— :
afa slarsitatradl fargate: GATE |
There is one extra leaf in which
the Colophon runs :—
° . ©
xfa ott wencat afa sacacanfactad ayaa |
od
GRAMMATICAL TREATISES OF NO SCHOOL,
4583. b.
3903. Ugatcafeareat | Sal-karaka-tippant.
By Manu-dasa.
Substance, country-made paper. 12} 24 inches. Folia, 22. Lines,
40ona page. Extent in Slokas, 260. Character, Bengali of the early nine-
teenth century. Appearance, discoloured. Complete.
Notes on the syntax.
It beguns :— a ie | $
e AAT TaN |
feawenqeaqgyz a saatayt |
anal wage fad aaatszat |
agenda oy a: wefeaina: |
qIAaPy Aas Hes wRttfa a |
fat: HaHa Aa arate Baraat: |
wafer ae FT ae (@)aceyfaatear |
yeaah RO Aayehearia F |
Aa faaqiaaray yvatat aaa waz |
alfa gaits wentcatta RURAL MT ATTA
fumcaifa, We wa waneatea Cravath |
at feat wutated; faat vata oufa, atefa safe!
Zqemeq ua fagfa war as ugfau: wT aH AF
fayaraq | satfe |
It ends :— ' ~
aaa siatstuacofaafuacmaat awRafsa
Sfa anaifanfantata |
Colophon :— |
sfa aqziafactaa vemtafemarte array |)
45834.
7168.
Substance, country-made paper.
9} x43 inches. Folia, 3. Lines,
18 on a page.
Character, modern Nagara. Appearance, discoloured,
Notes on the Sanskrit syntax (IXKaraka),
4584.
4598.
Substance, country-made paper. 183 inches. Folia, 2. Lines, §
on a page. Character, Bengali of the nineteenth century. Appearance,
old and discoloured.
This contains Karikas relating to Avi, Karaka and
Samasa.
It begins thus :—
WT ATHCLART |
asat ufe faa GSAS WAKA |
Tas aeaso RH wife Bash |
Tatargy wrgat frag ara: |
Wasa ae fafafaar: |
1B, xfa aeqatfat aatar |
agar furaasca arate |
SIAATH TaTaeyq TUNra vaAtfaaa |
VA TI Bla VA SRTAT |
flaatia Satnig afd ava ae |
Then in 2A :—
a
ATAY RTA Blea: |
faamAyeuaiat arafeafaswa |
wIsq wat agiafaanaai aaa |
faa a: BSA at arq feaeaEaat: |
( 244 )
ale
There is no colophon in 2B, including the end of ne
topics. a
4585. "i '
2398. AATAaHE | Samasa-cakram. *
Substance, country-made paper. 8x5} inches. Folia, 7: Lines
on @ page. Extent in Slokas, SO. Character, Nagara. Date, Samvat
1743. Appearance, discoloured. Complete.
Colophon :—
fa auras AATHE
Post Colophon _
afaactafa: G a aeat HTH |
alia faa oad aatafae gena(:) ll
aad cara wae fated are ure 7
Beginning :---
wisi aaa aad Befaufaur Ft |
fafa GIA AaA a feat |
TATEUT ATTRA! AAA AH ATLA: |
anu a asaife feqerintaat feat |
aeaq(fa)faat Tat sattarat feat Aa | |
Sat ua: aaratal UTI raga wa I
It was written in Bengal in the 16th century by ”
Bhavananda Siddhant-vagi§a. -e ‘
See I.0. Catal. 918. There is — work of the
same name. See I.O. 919.
4586.
4748.
Substance, palm-leaf. 11x14 inches. Folia, 2 to 152; of which the
following leaves are missing: 2 8, 15, 17, 19, 33, 41, 42, 46 to 48, 56 6h
eeeiy
78, 86, 128, 134, i87,. 142, 143 ancl. 146. Lines, 5 on a pege- Character:
( 245° }
Newari of the sixteenth century. The leaves are marked with letter
numerals. Appearance old and discoloured.
It is a work of the same nature as Madhava’s Dhatu-
vrtti.
It is an excellent treatise on the conjugation of verbs.
It quotes, for illustration, from standard works as-of
Kalidasa, Bharavi and so on.
The 152nd leaf breaks off abruptly, when dealing
with the Namdhatus.
> There are six leaves put at beginning of the man-
uscript, which are without leaf marks, two of which belong
to the Bhvadi class, and one to the Adadi class.
4587.
10188. SITRATAMSPRAT | Akhyata-candrika.
By Bhatta Malla.
Substance, country-inade paper. Q9ixd inches. Folia, .18. Lines,
10 on a page. Foll. 1 and 2A are written in Bengali of the seventeenth
century; the rest in Nagara of the same century. Lines, 10 on a page.
Extent in Slokas, 720. Date, Saka 1579. Appearance, discoloured. Com- —
plete.
Colophon :—
afa srazaatactuarenaateat Sarat |
Post Colophon —
waggaamaafaa qeaaét |
wasuts Rusa wast yaaa: tl
a TaaM |
On the obverse of the first leaf there iS Bengali
charm for exorcising.
A short treatise on Sanskrit roots in Verse, often
quoted and recast more than once.
a |
( 246) a
See Seshagiri Sastri’s report for the year 1893-1894,
pp. 20-23 and pp. 178-182 for extracts. ‘ a
This work may be referred to the thirteenth centu ty
as 1b is quoted by Mallinatha. i
See also the Descriptive Catalogue of the Sanskrit
Manuscripts in the Government Oriental Sanskrit MSS.
Library, Madras, Vol. III, pp. 1051 and 1052. a
4588. i)
5583. feratfaure: | Kriya-nirghantuk.
The same as the above.
Substance, palm-leaf. 14™«14 inches. Folia, 61. Lines, 2 ona page.
Iixtent in Slokas, 700. Character. Udiya of the eighteenth century. — Ap
pearance, fresh, Complete.
It Zives the Sanskrit roots of one and the same
meaning.
Mangalacarana and the object of the work :—
siraita aA: |) Afawae |
daraffeomat GRaaaqay |
RS ayAUSTATH qualia 7a: I
HAA TRIAS ugAaA CVA |
aqtaqaat ITA AA eae ta: |
auaimafte vata faad are s=afa |
saga aad wT eagaraty |
1
=rtaat ugaareitaea at Raises |
fazer WIGTRQAy Sat |
Satya Taa: BAILA Weteza: |
Saieadaw Te Tel weqara |
aye AZAR AAMT
Colophon :—
sfa sluganfactua: faratfrace: ATR: |
aiat arafaatztai fuarfasprfeanana |
qrat aqaFalaly Walarmeaaes |
afauantaafawt Set wae aT |
URN RAABa ATATISIAATeS |
afa HAM A aN Bewtat STAT |
Sesagiri says (see the previous number) that this is an
abridged recast of that number by Rama-candra son of
VisSva-natha.
4589.
10543. VIA TAatt | Prayuktakhyata-manjare.
\s
Substance, country-made paper. 10x35 inches. Folia, 30. Lines, 9
on a page. Extent in Slokas, 480. Character, Nagara. Date, Samvat
1827. Appearance, discoloured. Complete.
On the obverse of the first leat :—
CYRPAAHSNG stat await gsHaT + + Aye
Fo Wo 8 | ,
A practical guide to the conjugation of the Sanskrit
roots, based on Bhatta Malla’s Akhyata-candrika.
‘Sesa-giri says, see above, that the author's name
is Kavi-saranga and that this work also is 4 recast.
Beginning :—
ugamtactaat QyATeaaksaT |
aa: Byzeld UT: yaa waaay Wl
aaaiate vata faa ara sata |
squad Aad 4 auqagaaly |
OB, sfa yyqrenansat owea: atag:; 24A, ° facta? RTI ;
‘last colophon) e @ata: Wwe
( 248 )
Post Colophon :—
daq yseo aa HANIA aa saree fs reat
Tarcmat faaeacetadt graft Aree bal i
Waa SBA II |
Aud aaarareg wWemlaty aga, etc.
and, contain
There are four lines more in a small b
stray verses,
4590.
10805. The Same.
Substance, country-made paper. I4é«5) inches.
60n a page. Extent in Slokas, 242. Character, Bengali
century. Appearance, old and discoloured. Cornplete.
Last Colophon ee
ata ugarianset SATA | .
Folia, 22, Lines,
of the cighteon ith
4591.
9659. UTqata: | Dhatu-pathahk.
By Radha-krsna. a 4
Substance, country- made paper. 14x Gk inched. Folia, 1 3. Lines,
15 08 @ page. Extent in Slokas, 936. Character, Nagata Ap P earanc®
ne
tolerable, ae
‘
i =! i
&
The first leaf ig missing. -
a 7)
Colophon -— oe
afa sreretearfaercaera fuga -xrereereTemtte elt a
a)
Ula: Gate: | a
Sy Ware | %
4592, van
ee >
9164. a
Substance, country-made paper. 12X6 inches. Folia, 16. Lines
9 on a Page, Extent in slolxas, 800. Character, Nagara: Appearant?
tolerable, Complete
°.
rie
a .
ae”
, .
7 4
. an |
2 4
( 249 )
This codex contains the grammatical roots and their
meanings. No name is given, neither that of the author
nor that of the work itself.
45983.
8003. TRATHRATG: | Ariya-kalapak.
By Jina-devu of Bhavadara-gaccha.
Substance, country-made paper. 103% inches. Folia, 73. Lines,
I4ona page. Extent in Slokas, 5,400. Character, Jaina-Nagara. Date,
Samvat 1494—=1438 A.D. Appearance, old and discoloured. Complete.
It relates to the conjugation of Sanskrit verbs.
Beginning :—
aat Watcal Sat fegracmayfsat |
aaitacty eat siaqarquatinat i
fasafarataltaayAeaear |
faaraata Fala Sfhrataaes || Fa |
AHS WITAT UTA: |
41. A, Staractenete Witsazaqeteta: GR fartHTTIsa UTaat
4IzatsuaT |
55A, o Blagtseteatsuas |
6OB, © featea wutaatsuaa and so on.
(Last colophon) ¥xTat Uraatsuaa |
‘aded_ lines,
After the last colophon, there are six !
containing, however, not much information.
Post Colophon Statement : ad
vad aves aa PuabaATa Raa aul fa
Baye waracuteeN (Mewar) a faaneretsn (Chitor)
xt sttaqaatfasraery spdaare + + + HRate
ware Sh raeafaariai Ustaenrcurat sfyatl wifasx tat
Nt * an
faa qo faaadaha amusay featgTA TSAI |
32
at ataatae
( 250)
Copied at Chitor in Mewar in the reign of Rana
Kumbha.
4594. a
7728. yqearaat | Dhdatu-riipavali. Ae
Substance, country-made paper. Ll» 5} inches. Folia, 81. Lines, 10
on apage. Character, modern Nagara. Appearance, fresh. Incomplete.
i.
at the end. y
A book of conjugation of the Sanskrit roots up to Dhu
rr aaa
of the Svadi class. .
Beginning :—
ay urqeaaat faa |
Zarqrat | ae—uafa uaa: ugfa, etc., ete.
4595.
3513. wurteaaaA | Unadi-siutiram.
With Virttr by Rama-candra Vidya-bhisana. s
' =
Substance, country-made paper. 18434 inches. Folia, 17. Lines, —
7 on a page. Extent in Slokas, 580. Character, Bengali. Date, Saka @,.
1605. Appearance, oldish. Complete. ‘
fT
—-
The mangalacarana and the object of the work :—
Aa RMU afaegqna Days wat
Wat HAA Ha HfaHat Wialeerq AAA |
teal aquatfead afacy sicraast fas: 7
aTatarfzafawe AAV Saale HaA || (7) |
weaigetena sfa aiat afa ward art wale |
HUHUF IAI IWAF |
Colophon :—
afta Struraaataareafactaa vatfeute: sare |
( 251 )
The date of the composition of the work :—
win faaaaady (?) ae
ameraataifeauie wa: |
stats facqara-
watd ate faqaraagga || wae eso |
stefe: wea) ostfea: | sftera: wea |
At the end of the MS. there are written some Unadi
sittras in nine lines beginning with: aajasieaaatat
WIA | GH HM TIAaH ATR | and ending with: watz
_faaretfiae | and the colophon: squtfead aay |
The date of copying the MS. :—
PAUNIMIAIT Asal facia |
Stet vette | stan vate |
sicarauernenm fafaafad wand |
WATE CEI |
@autea att foot fufeat aansia |
ays UT Gar: wefaahay |
4596.
4661.
Substance, country-made yellow-paper. 184x 4} inches. Folia, 24.
. 2 . ig = | TeTV
Lines, 7 on a page. Jxtent in Slokas, 450. Character, Bengali in a very
modern hand. Appearance, fresh. Complete.
Beginning :— A
y WITH sutsha at a al Betas Tad aT |
On conjugation.
4597,
7790B.
Substance, country-made paper. 104 x44 inches. Folia, 3 (marked 5
to 7). Lines, 6 on a page. Character, modern Nagara. Appearance,
fresh, |
{ 3262 }
Vi
These leaves are marked sia or Slae®&e and relate to
the causal forms of verbs. It begins in the middle of
a sentence and ends in the middle of a sentence.
;
4598.
7799. BTASHTTCAT | Anit-harika.
= :
- With a commentary tn tripatha form. mn:
Substance, country-inade paper. 12™6 inches. IT olia, 4. Charact er,
Jaina Naégara of the early nineteenth century. Appearance, discoloui red.
Complete. oe
-
Beginning (7?) :—
i=
.»
afqe @eiat uaatfa exgat
sale Ae: vaefa afee: |
qomMaeawat Ass zat
faditsaaastis faarata |
(Comm.) @ittatatqetae wafa, etc., ete.
Colophon :—
The text complete in 11 karikas.
(Text) ‘sxataemtfeat FarTAt |
Post Colophon :—
fafqad aIaAsieTAARM Ha Waats
(Comm.) afaeatfait SATA |
There are 12 lines on the reverse of the last eal,
containing stray verses.
4A598A.,
6736. The Same.
With a commentary.
Substance, country-made paper. 10x65 inches. Folia, 3. Lines, it
on a page. Extent in Slokas, 84. Character, Nagara. Date, Samvat - x
oie mh
1896. Appearance, fresh. Complete. ati as
( 253 )
There are ll IW8arikas., concerned with the roots,
not taking z# in conjugation.
Colophon :—
safaentfcat etat |
Post Colophon :—
fafad cAataa Weare |
_ There are two lines more, containing the beginning of
a hymn in praise of Siva ( eae faaeaa etc. )
Beginning :—
PALA AA: |
(Text) aaTqerat |
4 afig aura vaaifa geatfaaieg Se: vache aes |
aoa aeai a ees ieaite aaaeats Weal I
(Comm.) attra wtaqefie vafa | a xe aeTg Aisfte |
Between the root and the conjugational suffixes an
iis often inserted, this is called zt, by Panini.
4599.
9645. The Same.
With a commentary.
- Substance, country-made paper. 11x 5} inches. Folia, 6 in tripatha
form. Character, Nagara. Appearance, fresh. Complete.
Beginning of the commentary :—
| SAMI TA? |
= Fut wafgteta gwaattata fa wqataisti]e data
at: aa wate quam grates sIgaae: fear
RalT Ae: yaeha aga | Kafe |
daq wed aN WIR vous fafa ctaatfiaate =)
to
( 204)
Lind of the commentary :—
sfa afrenttoat SHAR ce aTsHTEAT fe
a venaanday THRE iat F afte a
at haar siatfa 2 222 us asia: SarAT |
4600.
9736. The Same.
Werth a commentary.
Substance, country-made paper. 101%4 inches. Folia, 7. Lines, 8
on a page. Extent in Slokas, 80. Character, Nagara. Date, Samvat
1913. Appearance, tolerable. Complete. a
rr.
fy
iy
4601. ‘a
10506. Wet ATTA: Sabda-sidhana-samgrahak. s
By Bhatrava Misra.
Substance, country-made paper. 10x 3% inches. Folia, 59, of these
the 37th has lost the right-half. Lines, 10 on a page. Extent in Slokas, 1
1,300. Character, Nagara. Date, Samvat 1595. Appearance, old and
discoloured. Complete. |
Last Colophon :—
xfa Meafastaearsadgs fasta fe
fad Haga] SATE |
Post Colophon :— |
Aan || UA | TA Maq wucy waz “i ;
qfz 18 aaeut dlaaret fears staraaa feenfit
waza Ware |
A treatise of the school of Kalapa on declension.
Beginning :—
SNM AH: | :
me
GRIGTIAR Stas yy
yatcafaauqaagteyarya |
~
( 255)
faxwata fattara Feaerausyt -
faasateaanta: wifeeareattfa |
wad Waelat safe fsa gat
autty azfaeiai weefest afaaa: |
4602.
10558. qaaeuraat | Subanta-raepavali.
By Ranga-deva.
ae ‘ 29
Substance, country-made paper. 105 inches. Folia, 13 to 22.
Lines, 11 on a page. Character, Nagara. Appearance, old, torn, dis-
coloured, etc. Date, Samvat 1850.
This belongs to the school of Panini.
Colophon :—
afa cyeaqfacfaat qameEutast SAAT |
Post Colophon :—
vaq w suo fafa usa Fume wud v8 ataate
fafad Santa arTwaTlaAw St areyi, ete.
) Declensions of Sanskrit words.
4608.
7808. The Same.
1 ~ Li 7 id 1 8
Substance, country-made paper. 104x5 inches. JTfolia, 34. Lines,
on a page. Character, modern Jaina-Nagara. Appearance, fresh. Com-
plete.
‘A treatise on declensions of the Sarasvati school.
Beginning :— _
BStALGA AA: |
ay faufafamiaa ; a fart aifeenfes | fanaa
uz as wifefaufaatet asad, etc., etc.
It ends with giving the suffixes of the feminine gender.
( 256 )
4604. 4
9597. The Same. +
‘eg
Substance, country-made paper. 96 inches. Folia, 12. Lines, Ul
on a page. Extent in Slokas, 110. Character, Nagara. Date, Samvat
1910=Saka 1775. Appearance, tolerable. Printed in Pothi form, "
On cdeclensions.
4605.
7787. The Same.
Substance, country-made paper. 103% 4% inches. Folia, 38. Charac-
ter, Nagara. Date, Samvat 1785. Appearance, discoloured, Complete. —
On declensions in a tabular form according to the
Sarasvata school. ™ 7 7
“ei
The date of copying :— a
qaafae chad cUisea HacHalTe | ae
gaara faattua | awa aaq (osu fafa fafa ace
atfe aqeut ie wzyate || AA wag |
4606.
8918. ATTAATAT | Laghipasarga-dipika,
With a commentary.
Substance, country-made paper. 135 inches. Folia, 3. In tris
patha form. Character, modern Nagara. Appearance, fresh. Date,
Samvat 1909.
The text consists of 21 stanzas.
It begins thus :—
q Wal aaa catte |
any begins :—
y Raum wgewedy | frat oge rt fai
difaa: | 21) wus saeha erate: | 31
( 257 )
The Colophon :—
afa wauezifaar [ejarat 5a |
~ Post Colophon :—
uP feqatat aes efaafaeaae |
saya eae afayl fee ez |
UAT Yeo€ |
4607.
; 9169.
Substance, country-mado paper. 13x52 inches. Folia, 3. Lines, 11
ona page. Ixtent in Slokas, 40. Character, Niagara. Appearance, toler-
able. Incomplete. .
This codex contains the meanings of the cad class of
Avyayas. The MS. is incomplete and neither the name
of the author nor that of the work is found.
4608. -
9911.
Substance, country-made paper. 12x6 inches. Folia, 3. Lines, 10
ona page. Extent in slokas, 50. Character, Nagara. Appearance, old.
It gives the meanings of Nipata particles.
4608A.
6719. ASATS: | Avyayarthah.
© .
Substance, country-made paper. 9x 41 inches, Folum, one. Lines,
16only. Character, modern Nagara. Appearance, fresh.
One leaf containing the meanings of indeclinables.
Beginning :— .
tT UaARe aaa yw ar aes STATE |
Colophon :—
ata Byy By: |
a3
( 258 )
4609.
9476.
Substance, country-made paper. 10«4 inches. Folia, 5. Lines, 9 on
a page. Iixtent in Slokas, 80. Character, Nagara. Appearance, tolerable
Complete. ‘a
Meanings of Avyayas.
4610.
11184,
Substance, country-made paper. 12x54 inches, Folia, 6. Lines 10, my
A
ona page. Extent in slokas, 100. Character, modern Naégara. Appeat-
ance, fresh. ‘a
_ Jt gives the different meanings of the Avyayas or the
indeclinables.
Beginning :—
STM WIA AA: |
acufefamaagag | |
quay frurarafa warereeg | afefa ait qeatt -
a | seafefars | ota: cae gacraay saa 1, ete.
Colophon :— F
ZAQas |
4611.
9655. BuEtiadare: asta |
Upasargartha-samgrahah with commentary.
By Krsnacarya.
Substance, country-made paper. 146 inches. Folia, 2. Lines, 13
on a page. Extent in slokas, 72. Character, Nagara. Appearance,
fresh.
This gives the different meanings of all the Upasargas,
in 19 verses by the author with perhaps his own com--
mentary on them.
( 259 )
Beginning of the Tika :—
uifzanan: | oy enfeate a ue: aaqudfaaise
qmatte: | Sa aad asa waren faanag weefa
waa awafa asi rat)
The verse 19 vuns thus :—
atactataat tat Qieangaaasrt
AMA (Aw) Rat wtat SuapIAas
4612.
8308. ATSRITU ATTY | Caraccarana-catur?.
By Siva Sarma.
Substance, country-made paper. 7x4 inches. Folia, 39. Lines, 10
to 13 on a page. Extent in Sslokas, 800. Character, Nagara of the
eighteenth century. Appearance, decayed and repaired with the state-
ment on the obverse of the first leaf. MT TSIcad ATAATATHATYTIAT |
~~
Foll. 3-6 are missing.
Beginning :—
STAM AA | STARRY TA: |
aa FAM RATA ATTA AAC AAATE: |
nimMaataatsr qeeq qeiteat atsat |e |
uss TAA We Bca@algy F ara |
ama ATaatsd A_at: Beg GarAtfs WR |
PACU aeraa- aya
aff anya aratui(?)faa shat Aaat 2
STTAM-AILATS-TTAAT AM ATA: |
frau fafraffa aestewagel || 8
A work on grammar and composition, intended for
Krsna and Mathuranatha, the author’s pupils.
( 260 )
8B, ea wesramqai aaatraufagiae WaT
SATS? |
LLB, > @ifanuzaaet facta Sate
13A, ¢ aqeahineaoeaais See: ! 7
aa
1I5B, waae = faseatfa qztayfu 0 al fafafeetaaeauara
azar
LSA, o fanaqa-ATAe-WTAD SATA SAT |
aa afaaa meas fered |
190A, sfa wea, wa watyaat:, Ha afmanatan |
20B, sa aATAA Ua BATA Zari; 22B, ws RTT AAT |
Q5A, efa fannaataeum |
saa AACA zthamiafretamt |
yatfae[ ] vat gat araat viterarfeat ti
wy awa qfeaatat qEa: Fas AA |
spared tater: We ated famztaat || 2 1
fautafagaaagugisad adtea: |
aaa auras aa aa ada || 3
faqutagqaaa fataztad wat (?) |
fangqamaaad agatgtafearna: | 8 |
ad famtaataita vetfa vata Aas |
al cifa: duets: a Shad-eeHaaTaa | WI
xd HUST Baa ATaag At |
aa fe sme (?) ew aay wa a Gat | < |
ata fameq Sear qufacqucafa |
Het Het ary arg stad stad Fax | |
gan vant Peat feu cafes @azq || 9 |
gat atait tag fast afataraar we |
aatty at Faaestieat AAS TH |S I
( $a. |
aTaytaAalya wa: FMAATSET |
Sut Shaaswmrfaraa at w ATT |e |
ante gaat: wage aa yea saaautaeteerngqad |
End :—
wale aefa CRC Meat waar
acaita rat fasafagut satfaarataat |
FRSC aqua Fat
araata Crag faeMaT ATA fax staat 1
Colophon :—
ufa slaqaaasigsra haneeas-faa ary fase fae
fara Wega WaEgS: WAR seTEt
Taya aahaatyag |
4613. ,
4718. ATATALARIT: | Akhyata-raina-kosah.
Substance, palm-leaf. 12% 2 inches. Folia, 76. Juines, 7 on a page.
Character, Newari. Appearance, discoloured. Incomplete in the end.
QIeRa ae | || Se TAT ata bese |
auteaigqequctaniuns Taat fasaat
qataaigaite: neRanyat at qararea het |
eal Raya qaazaaga: wreaewn -- + ++
eats us: yefauegat araasey otter
qa GHayggal Aa MlAMawtd |
auatsaaweataj aiswiaad Aldara |
Aqua ayy fae yqeteat |
aly Wreaaat wriiara awe |
ARE BY WUE wry ad a faetad | Fakes
( ai wiaea )
4614.
10426. AaATRCUITSSTAATST |
Vaiyakarana-sabda-ratna -mala.
By Soma-yajt.
Folia, 27, of which
Extent in Slokas, 450.
discoloured,
Substance, country-made paper. 94x 4 inches.
the first three are missing. Lines, 8 on a page.
Character, Nagara. Date, Samvat 1836. Appearance,
An elementary Sanskrit grammar.
Lind :—
asad (aT) fata aM
afenauaatfaaaen |
WIAATST afaztaa
aq TARARATS |
Rats Rrapaqatfiara: Wet |
Colophon : —
sfa spataaifa(stt)faxtaart Sy TRL WLR aTa
SATAT |
After six lines after the colophon W® have the
date :— >
wad yea Ua afe zy ate quaaqtaae YU RRS |
4615.
8208. UHAATAT | Samskrta-mala.
Substance, country-made paper: 1135 inches. Foli@s EOP: Lines:
6 on & page. Extent in Slokas, 1, 400. Character, moderm Nagara, Ap
pearance, fresh. Date, Samvat 1925.
A collection with their explanation of Sanskrit gen-
tences and Slokas, and stories from the Puran25 48 recited
and explained in the schoo! of Veda- garbha, intended
for learners of Sanskrit.
( 263 )
Beginning :—
Spa AA? |
GGHPAIATAT |
ATat sieqaataarai qTatal HUA fissy |
dof ofsarat afsats | v I
APIA Maat ASIA aye |
ufaat afaarslat ST AHarray
WHS West Femwqalat ataya aTate WoW Feet
qetgetat Beara Wat weet wa: = wena
eat weq faafia: weeanengag | fre: ay
alfa arf aeatto Maal aa att arf aqaataatta
ataaara af WT Hat Geto ReTe yews |
Dal AHPat awa Aaatayarfast |
aatfan a aia farnafantet |
BW IATHRITS! |
aa |
ce sox ee | WALES WAT aS
eesti AAT BIQAeae | wae Femfea
wat faaumt: wewmarmind faeiata get mss
wea | faut years) ateute) feauni(:) gar
wed Areata | fraral ufaaefa w frafraarg |
Wteutata FA A frag) a yaatq AHA |
Ut: a wsata fades) a saad aexiq-
AanratsteH |
164A, xfa dqaaten[ Si) SHafaa ava TaAT SAAT I
aq mncitafeained: ere fuat faarraare frae-
qa USUIAGt Hsrgateaq AAT TA Ata |
arate wa faaeta wa cnnfeat aS at say
faaafea | aS Bait ofaafiat atsawaitawatey
featg AEM Ara) fH ataq ata afa aT
( 264 )
ism: aa wade feata sear atta fay
Wea uxanfeedtat Fuse: waa Feat ze
aqa alt aafaat fant as faarey Hail azar
fafaaara Ward ga uaa | vem US yawaita Ta
ema: FA aan satan afa a q wa qrata-
fafa: aygat areytat Herat fara Tea |
cata watfa a aH we Act ate | faq dae
ANIA Bat savanna | wa faat a We ufsafa v
et ae, satss as fafas aa fataataq a Re i
fag oe at orerdt wate seat ufaa ata cae
afeq afer, ete. ;
40B, fa area ras stead ata featat utwat |
TBA, sta eeRaATaTar qeuisanse ata eatat ufsat; SSA, o
2
qstrgitaaamad arr aqut of#at (last colophon) xfa wed
areata: Waat ofa aya
Post Colophon :—
famalatted WIR (eR AaAGSAay-faa |
ila dara wares eararaa fren |
mueaton ae anagiatad fat |
aaa fafaat Fa qaretaaeat BT |
4616.
8507. AMARA Samskria-matjart..
By Ananta.
Substance, country-made paper. 11x65 inches. JFolia, 7. Lines, 8
Onapage. Extent in dlokas, 168. Character, modern Nagara. Appear-
ance, fresh. Complete.
A Sanskrit primer.
bo
ap)
or
eee”
Colophon :—
fa sagqaaget aya
Beginning :—
saa a | yee aa RAT WaT |
HATTA | At feasted | Fa ANAT | aUl?-
Zutztaat:, ete., ete. |
| ind :-— |
aMaag_et grat wWaria fautaat |
qTHaASuaT Ala UpWeM BAeqat |
4617,
1678. The Same.
By Raghu-natha.
Substance, country-made paper. 10x4} inches. Folia, 5. Lines, 10
Cpa page. Extent in Slokas, 112. Character, Nagara. Appearance, fresh.
Complete.
Mangalacarana :—
sfectamaeteacHetqeaaa |
qeestfaea faa ated aeaeaa |
Object of the work :—
HaLt dgqawar fafascaattaat |
aTAat BAITalsy LaaTsa Cae |
The work begins thus :—
AAT Marvy mya waa naata aa wat fea aa faa
qaatt ufaefa a faearagati segege aes xt
It ends :-—
as aaua aa wager faaya' |
wate vata aa data xf |
34.
.
eS —
( 266 )
Colophon :—
xfa Sicaarafactad aeqadafe Bare: |
After this colophon in leaf 5A there are 16 lines which —
contain the Puja and Kavaca of the planet Mangala.
This is a short treatise of hints on grammatical study
by Ragbu-natha.
4613.
9366. FOWSeREUS AA | Apa-sabda-khandanam.
By Bhatta Dhanesvara.
Substance, country-made paper. 9x4 inches. Folia, 35. Lines,
8 on a page. Extent in Slokas, 560. Character, Nagara. Date, Samvat
1680. Appearance, tolerable. Complete.
It begins thus :—
ee aa: Staaaamratafsetata Hal Az! |
qaraMcaaraaatalesy Head
wag BH wai aw urfmasy aa: | 2 |
sqrafataceagy AATHATLATHaT
amantfad a4 aH BMYCA AA: | R |
aa anual sae cet arara araat
aayaaqens aa SLs Aa | 2 |
Teraatiad atfsia an aide
Aa eH BUA Ta HATA | s |
RHas ATWUA: fanfa: wines:
uifaaqaeaas aapeeniseat |) a |
a-at ata fe fastet aenarat(e) garttaar:
nqugeaa tates ata aHIsE a ll & Il .
aq WeAeTATe Hat atacMya:
Wsecalaat AA AA aifwAy aA: || 9 |
( 267)
End :— ‘
ay Weesd APatea wa Haatwat vafa aya-
DSA AHS TAIT ATHCCAFAT |
aratd agfad atsdaferd a ares
a gat awagea;n at + + searfrated |
qafe aH Nareat ara a nanea| aatfeqy apfaaatg
Tafey TITATATA |
Teg aaa atta ate a ara ufa apfaate ara uf arent
wa | aarata WSU! |
ax xfa arf eifaoratat ySrrat aenctfraa | TATA
TA afaaay vai agha: gsity Ae: ante degen
Bal Hye) We Dard va: ad utcafas afqarare qq ay-
_ faars: | wat waa naatfauttrara sad qsfauarq wears | 4
TF aPlaara Ta aA Ta Watarfuta agaeaay |
| alaat ateut F a aedufaniest
qu}: waraamwuta TIaTaAAT ART | 3 Il
amizaaty ua: Saatqataafarad |
amicus a fafaqa: | 8 t
ay FzrHalTa Acfafea-nniqeeer yRtdaeiaa AAT
fafa fee atremeataafa |
Colophon :—
afa HguataulaAT ee! |
Post Colophon :—
' SUTRA RAPT TA! |
daq dieu alfa ret agate faa wa Bieatat ya-
TWAT catia ugarag aracofafranwiaa ay
aasttateat fafaa: |
ROAHAATLTY Aqae fa AAT |
WiC | WA wag |i
( 268 )
It is a curious work, according to which if cael
such thing as ungrammatical language : and if there is
any use for grammar it is only for religious purpose
grammar being one of the Vedangas and helping one t
understand the Vaidika rules for the performance of sacr rl
fices. iss
ee,
os
4619. ae
9507. UTRTMGUSMA | Vv yakarana- chandanam,
Folia, 3. Lines, 10
Substance, country-made paper. 9% 4% inches.
Appearance, tol er-
on a page. Extent in Slokas, 50. Character, Nagara.
able. Complete.
Colophon :—
af =ftadtaras-gqeeqegqaas-AlaTsae
faxtaat arncmait SAH |
Lt begins thus :—
ge StUMyITs aa: |
a clases AMT Brafawaued |
FRVGrasM ASA APA |
fafae grace Aya rqurread 4 WRT AUTATe
fasraqurad ame vatiuaaqena | Kate | Be
. A
i 3
~ 7% ‘
i 4
4.620. ee
?
. eo
9465. qualTeeATnfanrac | a
Punyagrama-sabha-phakkikottaram- a
By Harila Sarma, ,
Substance, country-made paper. 1O0x4 inches. Folia, 9. Lines, 7 on
* page. Extent in slokas, 119. Character, Nagara. Appe2F%ance, fresh .
q
It Contains an answer to a srammatical questio?
raised in an assembly of Panditas, held at Pavyagrama of ‘:
Poona. ; : ; a J
F
,
( 269 )
‘See for another copy Catal. No. 4300 where it ig nar
7 - &
Purva-paksavali. ed
4621.
1920. w3TSEfaata 1 Sraddha-vibhakesp.
Substance, country-made paper. 94x 4 inches. Folia, 4. Lines, 10
ona page. Extent in Slokas, 60. Character, Naégara of the eighteenth
century.
Beginning :—
STM MIT AA: |
2H) se atafautactadiaa |
Sasa: set featarares az |
AALTT Waal WIsSee Bata wo |
For the manuscript and the work see L. 4.262.
AGIA.
11161.
It contains sixteen stray leaves marks 2—5, 9, 10, 18,
Hoe2O, 21, 22, 27, 33, 34, 35. and 44 of some crammar.
Quotes uray in 3, 19, 20 and &az in 18 and 20 leaves.
4622.
496. UQTCSaTRUaTM: | Parastka-prakasah. :
By Viharc Krsna Dasa.
For this MS. see L. 1321. The last leaf is wanting,
of which facsimile is to be found facing the notice in L.
Vol. III, p. 329. It seems not to have been replaced after
taking the facsimile.
The work was written under the order of the Emperor
Akbar whom Vihari compares to Brahma. To humour |
Akbar the author begins with an obeisance to the Sun
God, the object of worship in Akbar’s Jlahi religion.
( 270 )
4622A.
8287. The Same.
Being a Persian grammar in Sanskrit, compiled after the
manner of Sanskrit grammar (Mugdha-bodha) under
orders of Akbar.
By Vihari Krsna Dasa.
_ Substance, country-made paper. 105 inches. Folia, 24, Lines, be
on a page. Extent in Slokas, 900. Character, Nagara. Date, Samvat —
1792. Appearance, discoloured and old. Complete. |
Last Colophon :— ,
sta tiadtatestiucnacareattea faerdsle
crafaatad Uleatoath AaAIHLa BATH | .
Post Colophon :—
AMA | RAIMA | AUST AY AA VER a
fraara aafadtiarat aeaitaare OILS TARTI SSE HIGAL
qxrea fa tard |
In a much later hand :—
Yo Hearn Wea AAH CUA |
Beginning :—
@ afer nage |
way uwaataneaincya freamag |) aa Tat!
qtazteaat aqadaaa ATafasaaAwMay A afar
WSR TW ATETaT sete Ufa A
vafa wate afeq ata vrata sutq veel
fagcifa safaafetars anata waua veratfaat 4
euafyagaraat aiid aura faenate: frente |
Other colophons :—
«6A, RtanwineswiacHaatearfea = faaretamerafactaa r
UTAH WHHL | |
( 271 )
AAA: |
6B, o aqayaci—ureainuaa aie 7 sea—ae
aragance fread |
7B, o Wea LU—_ae earaqaca fae |
SB, o amagqanui—aey afeayaua fiend |
9B, o afgauaxa BATH—ay arenautaat freaea |
22B, o faatcliaaerafaaad wieatyanrt ArelanHeay AAT |
—ay aqua fwd |
| The colophon of the last chapter on Krt has been
. quoted first of all. ,
End :--
“
alat(anfareent vata aergaye afa ae Suet |
Tet wes | BlITaaca Wee araame fefa Zaft aps
53 a bibs ina 0) WURTMTARIER TATA garaa-
Fe Ta HUTTAT |
4622B.
9005. UTCTACHAAT SH | Parasitka-prakasah.
By Vedanga Raya.
Substance, country paper. 8x83 inches. Folia, 10 of which leaf 2
missing. Lines, 12 on a page. Extent in Slokas, 250. Character, Naégara.
Old. Incomplete.
Incomplete. Hight leaves only.
A well-known work.
4622C, -
8328. UTICA ATH | Pdarast-prakasah.
With a commentary.
By Vedanga Raya.
_ Substance, country-made paper. 114x 6% inches. Folia,911. Lines,
15 on a page. Extent in Slokas, 300, Character, Nagara of the seven-
teenth century. Appearance, old and discoloured. Complete,
( 272 )
Colophon :—
| sta areetaoars: | |
The text is well known. It is something like a dic-—
tionary of Astronomical and Astrological terms in Persian —
and Sanskrit.
The commentary begins :—
Saya AA: |
AAG TUM ASU ASAT |
aaa Ga aa Butea |
4622 D.
8230. Whe Same.
By Vedanga Raya.
Substance, country-rmmade paper. 7x3} inches. Folia, 26. Lines, §
ona page. Extent in Slokas, 400. Character, modern Nagara, Appear:
ance, fresh. Complete. i
Colophon :—
sitfafaqumiat FT Uae uRTTA |
aaa: HATAta Ulsaiawaraa: ||
sfa wiaetsarafactaa: wlcatuaryr: BATH! |
Post Colophon :— |
ama aaAetemH wifes a fe Plat CHATHAM
aaa agit Hate Maes ca AA fanaa alt qa ad
at ucaraanara stead Hes gay fefan aTtat
Sanskrit synonyms of Persian astronomical and astro-
logical terms.
46225.
3999. UTTAR faas: | Parasi-prakasa-vinodah.
By Braja-bhisana.
| Substance, country-made paper. 12x44 inches. Folia, 14, Lines,
13 ona page. Extent in slokas, 500. Character, Nagara, Date, Samvat
1880. Appearance, fresh. Complete.
( 273 )
The work appears to be almost the same as Parasi-
prakasa by Vedanga Raya, composed in 1643 A.D. (see
L. 162 and 1.0. Lib. No. 2114 and 2897) with more ela-
borate mathematical calculations.
The text agrees up to the Sloka :—
as aaa Aqat Arq awa variant |
efamimcany atm wriq fafasa
After this Vedanga Raya’s work has much, while this
has only the following :— :
watiMAgqele: UTq ATA |
qe Ada Vats Blwata Had daceta |
Trae frariefants wearer gay eae |
amet fere(S) radii Ga gat WATT THAT
aq day aq HRHaq Fay
ag fei GTHATRTTUTAT | I
qreattaneararaad Gay Ha! WW |
qt fag Haat faant arg Tahag | 21
faant:(%q) ga: STC aa gAT
gavel away |.
Laaqass (sed faa a wTe A |
aaa Afaataax wat Ti 8 |
Colophon :— |
afa seesayammauicatoarafantettat OR.
WAH: | ;
Post Colophon :—
WAT (SSo Blo Wo = Ho WHA |
It begins with the introductory Slokas of Vedanga.
35
PRAKRTA GRAMMARS. —
4623.
4788. WTARAARTS | Prakrta-prakaser.
By Vararuci. “a
Lines, 7 on a page.
venteenth centu ry:
g has faded away b
Substance, palm-leaf. -11%* 2} inches. Folia, 5.
rita in Slokas, 100. Character, Newari of the se
Pppearance, old, discoloured. In some places the writiD
chapte $
i
«
Only sittras. The work is complete in is
but this MS, has the first 8 chapters only.
Beginning —_
ge mat ATTLALTS |
Dleca? | ara gileg at | “arte |
462A.
7765. WrAaaATRal a : | Prakrta-prakasa-v7rtith,
: By Bhamah. a
Substance, country- made paper. 74 *K 44 inches. Folia, 16- 48, Lines
10 on ¢
na page. Character, Nagara of the eighteenth century: Appearanc?)
discoloured, .
“ sy
Incomplete both ends.
Kdi The well-known grammar of the prakrta dialects
ited by Prof, Cowell (1854). | eS
4625.
9573. The Same.
Sub: 0.
Stance, country-made pape 1342 inches. Folia, 4. Lines, 100 ;
on & page,
able, Extent in slokas, 90. Character, Nagara. APP°°TAaNce, toler cs
This is a fragment of the Vrtti-commentary
Vararuci’s Prakrta-prakaSa, entitled Wea aisay Aen
ae or
AMAT |
See Oxf. 17S B, 179; I.O. Catal. 939.
4626.
4777. UTRaAaSStaat | P rakrta-sanjivani,
(A commentary on Prakrta-prakasa.)
By Vasantaraja.
Substance, palm-leaf. 11x 2} inches. Folia, 103, of which the follow-
ing leaves are missing: 4, 8, ll, 14, 20, 21, 23, 30-96 Lines, § on
’ . aL
page. fxtent in Slokas, 3,300. Character, Newari of the Soon eoni
century. Appearance, soiled and worm-eaten,
Beginning :— Pes
GP AA HSS |.
eagqaaieea tag
wa Bates Hea TM: |
URAQa asada fagy
: aaT aHeta Beary at |
ayrat + + + + + wa:
ae Grae aa Stay Sara (ANAT |
faASATT UAHA TARATT wag ut feat
gam Wiese TW + + + Ti
+ + Fania ste uafaqraraarat |.
gy ea Haaa waa aafaasert |
UUMRATATRIT AAT squrass + + +
+ + - + sat garaesitserwes |
Hoaaeuifats stsafadaufawaaaet, |
qrafaaaedat ummaashaat zh 1
+ + + +. @& fafrea wy cate |
au fas mafntasfauasetfae weet |
( 276 )
auras’ (?) fafa: gaa: afesee: oreeqa; + + + +
aa Be ageqafeaaa: | wmizatesaRq ma: RAL agate fund
afeaq | xarte |
Colophon :— 7
sfa qamcatfaari waaastaat zd fame
. fatucea: ufxspe: HATH: |
This is a commentary on Vararuci’s Prakrta-prakisa,
by Vasanta-raja the son of Vijaya-raja. It is in 8 chap-
ters and treats of Maharastri only.
4627.
343A. Arerafaarata: | Audaryya-cinta-manih.
-_
Being a Prakrta grammar, by Sruta Sagara, a Jaina
author, disciple of Vidyanandi.
Substance, country-made paper. 106 inches. Folia, 177. Lines, 7
on @ page. Extent in slokas, 2,300. Character, Nagara. Appearance,
fresh. .
Beginning :— . .
a aa: fas: |
BT yng aaa fagqraeraqeue |
saute Varaifa vim Aai | & Il ;
aera w awe | aq wraaefauaitd atiaands aE
faatund Afeaa aa eS wt Se WY yafaaat
eragifararigaiasaaaits tt ee ‘
The work is based on Akalamka-deva’s work.
176B (concluding verse) :—
aaauacta ysquie: aamqHTHReS! |
ASHAMAAAASTS THA aT aTaTATaT |
It consists of five chapters,
*
Colophons :—
45A, saaaaataana f-aracmaaaarisartann-gutaral-
Hiomaaya twa fea eae an fis fare-gaa a fears fafa
aie aacaiatea(afattscameache = Sreratiaceanfa
auyqztaf orca aufeufeumt aa quater: aa;
94B, o Haqlaafasaayt ara featatswra:; 1382B, ¢ wutfeaqua-
faeumt ata caltatswra: warm: 149A, © atfetanagg at a1a-
Wqaisyqta Watn:; (last colophon), o wrmatwawaayt aa
Vqatgla BATH: |
3435.
Substance, etc., the same as above. Folia, 53. Incomplete at the end
and leaving lacunae in foll. 49, 51 with note on leaf 49 WA <4 UH VS Wa,
on 51 44 UH Wa ad. Scribe’s note on the last leaf: BX Wal ats!
Another work by Sruta Sagara.
The mangalacarana and the object of the work :—
Tat Wats aRags SaheaaRa |
dus utd 4 awaited Vayama" |
ATS WT Geel cose dha eat
faqiafeqea quay farxat urataaet qa | (?)
SA, xfa SeStivwca TaAa |
L5A, efa arated aacufa: Ga: WAH | AAT aa
ffrufeatfa deBAaratar quanta areata | xfa aTretarat
TAMU BS WAatafa fas |
| Tamia asaaTeayarstae |
| douey aa uTat GATA |] aaAeafe I |
21A, xfa aftattsaamrefaxtaat UaTatyTaT FATAT I
fag aut frsragrateuaa fra aT |
faaiiatrataay aa 44+ HATA |e |
It ends abruptly in the 124th stttra.
{ 278 )
The four prakrts here an Sauraseni, Magadhi, PaiSaci —
. oe '
and Apabhramsa.
4623.
© ;
4090. WTAARaAaA | Prakrla-sarvasvan.
“
By Markandeya Kavindra.
With a commentary.
Substance, palm-leaf. 191 inches. Folia, 21. Lines, 4 to 6 ona
page. Extent in slokas, 400. Character, Udiya of the early eighteenth
century. Appearance, oldish. Complete. Written with style.
Aphorisms relating to the Maharagtri Prakrta, in eight
padas. The accompanying commentary is anonymous.
Beginning :—
STRAIT AA! |
aerate fame |
fag urfmagre: |e | Beka! | Rl BTA BEA | 8!
a PAM FTF A AA TAG (AY wid | 8 i
The commentary begins :—
urfa-aitenatag erprrarfagerrettcafreriaia
aaiarten TAnF AA |
The text ends :—
aagatafesast <fid saat AAT |
famiaag fact: Ra fusvataa: |
Colophon :— :
sfa Strrawaadisadt oma = unfaaet
ASUIBI*WIATATA: Ws: | Batata Tereretearfa |
The leaves are also marked on the left hand side
from 100 to 120. Evidently these form only a partofa
large MS. which contained aphorisms relating to other |
Prakrta languages.
( S76 G
This work has been published in full. It contains
suttras for all prakrt dialects. The present codex con-
tains the grammar of the Maharastri only.
4628A.
7156.
. Substance, country-made paper, 10}x5 inches. Folia, 3. Lines, 10
onapage. Character, modern Nagara. Appearance, fresh.
A mere fragment of Prakrta portion of Hema-candra’s
grammar. -
Beginning :—
Qo. } e <9 rT
MS | HT WAI | MT Wee QeAasteatears
gate: wad aa vt aa aad at Wad HATA F
TmaAtathad | HHaAaT F qTHaeiqiad feat
aAaea GAM Aa aE Tau 7 Baas amataa, etc.,
etc.
KOSA OR LEXICON GENERAL.
4629.
140]. feryvatt: | Lingu-vrttih. . 4
By Vara-ruct.
Folia, 31. Lines, 9
Substance, ¢ ¥ anper. 744 inches.
? ountry rade Pp p - Date, Samvat
on &® page. Extent in glokas, 400. Character, Nagar
1723. Appearance, old. Remarkably correct. Complete.
Leaves 2 and 3 seem to be restorations from a man:
uscript of the vrtti alone. Leat 3B is not wholly written.
The work contains 4 number of suttras with theit
vriti commentary. The whole is attributed 60° Vara-ruci,
A
‘
but: the SUttras seem to be older. .
Rajendralala notices 2 manuscript of the work in .
L. 1993, Which is wanting 10 the introductory verse which
runs thus :— ; )
fag faarqatarer se: trea Fahad | a
s¢ grata WaT feaataart |
A Wary afaq ated Was AUaH Afeaai |
4B. WEG egal HATSIT TA ITA [get SS OE at
uta | |
TB. afer fairey sites! TIT WIA fant fare |
10B. age} qaaeoxaseutie |
ie an fargantoretl ferret fearare fee
Post Colophon Statement :-— —
a aac famHINaTA alata \oxse FUG qzt © miter |
aTa® qrut feat WET: dfeTs | Aya!
req I SaqRUISHat ay Wate | Ba
i,”
2 ¥
* *
. nd ‘s
He
>, |.
rf Per 4%
41630.
S tee
4831. TersratThana | Lingu-varitinary,
By Jaya Simha the son of Misra Grahkesvara.
Substance, palm-leaf. 12}x13 inches. Folia, 13.
page. Extent in Slokas, 150. Character, Maithila.
Appearance, old and soiled. Complete.
Lines, 4 on a
Date La. Samvat 2258.
Beginning :—
as =
ae AAT uaa |
aigayq aa warat Fawarty asa: |
Wie aiguae faat d aefequreas 1
awtreeate qe vefactesd wa: |) ?
aaa ant ey faateyqed we |
qamyawaat feaamara faitaa: | ?
fisgat Baatura weetas yaaa |
faut wahwa: Wet aaa aes |
qSaraqt aratasa wafastaneai 1
+ + + ata wee aarqarfa at ata |
faiaeqaasaat arey fagrafagat i
ata ae a ueatf ufes fa fea |
asf aaa watt acaat |
atfaatagt TW wee ag fayautad |
aweuad qaaa WATT: Il
ant feat = fant wand |: ald fairest
- erfruraa ata ufagagurzaa | Tarte
kind :— "
waa fasta air eae ate |
fanataeel Heat saw aqua tt
— _¢
Qiafaagracalsy Cer fqqqewMa |
wate Aa Haw Keq vsraae |
36
( 282 ) .
aq stxatfasa fase |
qefaguatmia fated fayaitind |
Colophon —_
afa aafdead fagathian AATATATS
Post Colophon :—
Tease ay cis Waaqarana |
aarfaufaat Ga TAA WA aa |
44 4 aati ate ata Sarat fea |
aaa sfaa wa fAaS Ueaquad |
faxaifanatatd HUS Wea |
qanaa daa BAT waatagat i
; om agi craraeraTa Afamsfaaaa |
HaHa Hae a faa |
Sey pi fp aga
The MS. was copied in L.
the reign of Vira Simha.
a
Samvat 228=A-D. 1343 in
4631.
5110. arafard | Nama-linge™
Substance,“palm-leaf. 132 inches. Folia, 13. 11° 5 on a pose
Character, Maithila. A ppearance; old and discoloured.
The mangalacarana and the object.
Beginning —
fqaaltanta AF: |
fanaa ange Sataataantaae |
fanaa at Zaval fafaal ufamrand |
aed qxafa-ate- -Wgatfeqqaya: |
waa aTatay TABATA |
an ata quam: 5B, afai aTaTaag: ; . 6A; ata ata
pia SB, ata Rial: 7B, =f aatfan:; SB. Efe feeat:
(, 282.5
9B, afa ageaan:; 1OB, =fa warm: : 1B. =f& afSeat:: 12B
xfa a@wam: ; 13A, sfa wat: 13B, =f feast: |
?
The manuscript comes abruptly to an end.
The buffer-leaf at the end gives the following date in
a later hand :—
we 293 af v3 <xat aya + weR gates + +
+ + afmauwAersrat, ete., ete.
4632.
me
| 7730. BAACAHTS: | Amarakosah.
A.
Substance, country-made paper. 115 inches. Folia, 49. Lines, 17 .
On a page. Character, Jaina Nagara. Date, Samvat 1839. Appearance,
fresh. Complete.
Colophon :—
ranefawanat TWataStTa TIAA STAT Y RSA:
) ain wa aHtad: |
Post Colophon :—
. daq ysee Te fate wa aq wauil faut 8 wetwaT
az aqa faqinatzaacara: afarafaxartait “add-
Sa5) Su Sur ageedg | fafaats SAATTTTE |
SeeG@aAetT ASE feets_ ASE aes |
feast fanaeise Fatsnst |
SS) ee
B.
Substance, country-made paper, white and yellow. |
Folia, 99, of which the first five are missing. Lines, 8 on & P&8®
ter, modern Nagara. Appearance, fresh.
To the end of the Bhami-kanda (from the syno-
nyms Of Sanatkumara).
11x42} inches.
Charac-
gta
Colophon :— |
sfa wacfaeadt atafantaurad feat
ain wa aafaa: | 2 1
s
Substance, country-made paper. 1044} inches. Folia, 11. Lines,
12 on a page. Character, modern Nagara. Appearance, fresh. A frag-
ment.
Colophon :—
sfa o qurfemime: yaa: ain wa aafaa: |
D.
Substance, country-made paper. 1045 inches. Folia, 26. Lines, :
11 on a page. Character, Jaina Nagara. Date, Samvat 1898. Appear-
ance, fresh. | My
The last section only. a
Colophon :—
afa fantieaae: | EaAe: Aya: |
Post Colophon :—
daq (ses fafa sae afe |
E.
Substance, country-made paper. 104x5inches. Folia, 12-37. Lines,
12 ona page. Character, modern Nagara. Appearance, fresh.
- From the beginning of Bhiami-varga to the end of .
Stidra-varga.
Substance, country-made paper. 10x65 inches. Folia, 1-34, Lines, .
12 on a page. Character, Niagara. Date, Samvat 1899. Appearance,
fresh. Sy
From the beginning of Bhumi-varga to the end of the 4 Nj
(Stidra-varga) the second kanda. ‘a
» an
é —.
\ .
‘és
j la
Colophon :—
afa fedtearas: eeqa: |
Post Colophon :—
HIT See WIR YO++ yadAart aapaaara yxa-
wa dazare faut Gai WRate fo ao claalaa Beuc-
ANd | GSRITIRAT BA war |
G.
Substance, country-made paper. 94x43 inches. Folia, 49. Lines, 9
ona page. Character, modern Jaina Nagara. Appearance, fresh.
From the beginning to the Simhadi-varga.
EL.
Substance, country-made paper. 94x 4} inches. Folia, 2-44. Lines,
10 on &@ page. Character, Jaina Nagara of the eighteenth century. Ap-
pearance, discoloured.
From the synonyms of agnt in Svarga-varga to those
of angulc in Manusya-var oa.
if
Substance, country-made paper. 10}x5 inches. Folia, 44. Lines, §
Ona page. Character, Jaina Nagara. Date, Samvat 1897. Appearance,
fresh. 7
The last section only.
Colophon :—
ata fanifedoe: | xaacfieadt waafintquTt
AATYRUS: Sata: Ain wa wafIa |
Post Colophon :—
aaq wres fafa mega we ¢ Ufsaraet arataatee-
Rwy srt st Yoo aqsit afaaat (the name is
blurred over with ink) fttaaarare aed,
etc., etc.
( 286 ) BD
i a ss
th century. “Ap
~ ‘
Substance, country-made paper. 10x 4} inches.
ll-on a page. Character, Jaina Nagara of the cighteen
pearance,’ discoloured.
The second kanda only.
K.. 4
Folia, 4-58. Cha-
Substance, 4 » paper. 11-5} inches. :
country-made pay] t aisooloureel
racter, Niagara of the eighteenth century. Appearance,
inning) with
The Svarga-varga (defective in the beg g) Ca
a commentary in Tripatha form. fl
t the end of tl
on
oe
j
There are two stray leaves put a
number.
’
. i
Cad
4633. S
intl 4
7733. The Same. b
. . a tp
Substance, country-made paper. 14« 7 inches. ie es,
on &@ page. Character, modern Nagara. Date, Samvat * Appt i
ance, fresh. Complete. Written in a bold hand. With interlineal nove
Last Colophon :—
SHA AACA: |
Post Colophon :—
Wad ara AaRASRaAT: i
HIT ead | arareedl Aaa TaaTas fafad WAS TTA
Wai AS fapgey afadt |) Shed Taeray SATA Seas |
MAE NRW ate zo | ~
4634. ee
3822. The Same. is “
; : oad » ii
Substance, palm-leaf. 1142 inches. Folia, 102. Les, 4 on a page ,
Character, Newari. Date, the 14th year of Govinda Pala’s reign, that }* #..
ibs —_ Appearance, soiled. There are leayes which have lost pee .
*Reeka: . Ong leaf between 14 t© 27, one between 30 to 45 8nd the la 2
marked 73 are missing. ‘The last is marked 105. ) er “ah
4A
7 My. e -
, i wee
Py at,
¢ ~ 4
( “2387 >
a
Incomplete. To the end of Liftga L-SaMeraha-
525: varga:
(ayaa Ss: GHITH: |
Post Colophon :—
TogTEe KMS Tew ys see te
GIT °B aa get auawW aaa swat fafa
See p. 250, J.A.S.B., 1893
4635.
S066. Zhe Same.
Seven old palm leaves of which four belong to
Amarakosa, one to Pafica-tantra and one with one line
and a half, ending abruptly with the first three letters of
a line and with the date, given in a later Newari hand -
Waq 832% ath AM |
. 4636.
409. The Same.
Substance, country-made yellow paper. 163 inches. Complete in
118 leaves, of which two leaves 88 and 117 are missing. Lines, 4, 5
ona page. Character, Bengali. Appearance, fresh. With notes.
4637.
8427. The Same.
Substance, country-made paper. 10x6 inches. Folia, 6. Lines, 20 .
ona page. Character, modern Nagara. Appearance, fresh.
With an index in two leaves. The leaves are marked
with the letters : fe qe |
It appears to contain such portions of the Vanau-
sadhi-varga of Amarakosa as are of medical importance,
( 288 ) a
4638.
8739. The Same.
Substance, country paper. 1345 inches. Folia, 93. Lines, 7 ona
page. Extent in Slokas, 1,200. Character, Niagara. Dated (Somrad
19[0]4. New. Complete.
The first kanda begins in page 2 and ends 10 Pp.
The second kanda ends in p. 60B. ‘@
The third has a new pagination from 1 to Bi
The new part was copied in 19[0]4 (Samvat).
208,
4639. 9
9165. The Same. |
Substance, country-made paper. 13x 7 inches. Folia, 147-
5 on apage. Extent in slokas, 580. Character, Nagara- Appearance,
not fresh. ‘ b a
From the beginning almost to the end of the
Kegatriya-varga,
Lines, 4 !
e "5
4.640. o
5347. The Same. |
-
Substance, country-made paper: 19x4 inches. Folia, 23 to 67, |
Lines, 5 ona page. Character, Bengali. Date, Saka 1619- Appearance
very old.
From the Simhadi-varga to the end. There is only
the last leaf of Vanausadhi-varga. Se
Colophon :— ; i,
saactdwadt AAfIsTaWTEat erarauntaneetta: ah
tq wateaat |
Post Colophon Statement :—
naaze age] WF TamceterfeieeT aeRAE + +
+ + yarteat (SRE |
( 289 )
4641.
5295. The Same.
Substance, country-made paper. 16x 3} inches. Folia, 119. Lines,
4 on a page. Character, Bengali. Date, Saka 1716. Appearance, fresh.
- Complete.
Full of marginal notes.
Colophon :—
saaeteenat TWA fay TAME ATA YR USSATT:
GATH: |
Post Colophon Statement :—
Genet Bagtcmetars: eracq wea |
MNeniwaw | ster | sarer | warer yore atfee
Sz utegqa faaart= | |
waa fatad ast aa Dew Aaa
Atal T WAHRLt aw frat aw aw mew | |
at at ge ge amt 2 mW RR ah Wesinfeaias! 1S ATA
Wey |
4642,
11028. The Same.
Two batches of leaves :—
L
Substance, country-made paper. Sx4dinches. Folia, 12. Lines, 8 on
apage. Character, modern Naégara. Appearance, fresh.
Up to the synonyms of the sun (of the Svarga-
varga).
If. |
Substance, country-made paper. 73x32 inches. Fola, 12-189.
Character, modern KasSmiri. Appearance, fresh.
From the synonyms of ‘day’ (of the Svarga-varga)
to the end of the work.
37
( 290 )
Last Colophon :—
raacfeetartad WeTquiat TATRA
aang wsarfartaciad WTA Maad |
quienes Bae aH ZILANa? |
STATURE HSA: AIUAALACST |
aeizarasy Maya WAtg |
UIeratatizaaMAISat WATTLE Il
4643.
8870. The Same.
Substance, country-made paper. I11*x % inches. Folia, 84 by count: — .
ing. Lines, 4 on a page. Character, Bengali of the seventeenth century. —
Appearance, old and worn-out. Writing effaced; especially in the last
leaf, Incomplete.
The last leaf, writing on which Is very much effaced,
contains the following evidently in a later hand :—
+44 +a aaremifaas yaquetemantaa + + 4+ 7
ara faawtaafaquenmasaagay-fataa- aqarda et +4+4++
azeyare HeIna urcuataatat quaterfaa-aaa Stya AeA
Herma targa GASL A ZaAAaT SAT af + + + +aT
aaa sae MMMts WHATEATA select ale aA
fufsatai waewiafun ug + + + .+ Tee aaa Ae
qqutcae amatae SAMS nerehiarafentteaaqafeutaatt
ARIAT 4ottpy4 + 4+ 4 +4 faaeratt Taq BQ FRAC
famiaaitafa |
4644,
3071. The Same.
Substance, country-made paper. 1246} inches. Folia, 44, Lines,
9onapage. Character, Nagara of the eighteenth century. Appearance, |
discoloured. | iF
The MS. contains only the third kanda of Amarakosa
( 291 )
4645.
5249. The Same.
Substance, country-made paper. 14x3 inches. Folia, 133. Lines, 6
on a page. Character, Bengali of the eighteenth century. Appearance,
good. Complete.
4646.
3634. The Same.
Substance, country-made paper. 124x838 inches. Folia, 2 to 119,
of which 2 to 4 half portions lost. Lines, 5 on a page. Character,
Bengali. Date, Saka 1623. Appearance, old and discoloured.
Post Colophon :—
staat fafsafeeq) WaT 2eR8
axe sam | yet aa) stents aa stere
TH: |
With this there are five stray leaves.
4647,
5185. The Same.
Substance, country-made paper. 17x3inches. Folia, 111. Lines, 5
onapage. Character, Bengali. Date, Saka 1622, Appearance, old and
discoloured. Complete.
Colophon :—
xaacteeaal aafagiqara eataatag: SATE |
Post Colophon Statement :— |
RAM VACUA Tafagrgwuaag |
Wey Walaa atautataeaa t
UAgwWLCaat aA aases |
SLTITRITATSTY aTAaTaRTgUTaAg I
Sattar
Tae UT Aa Hey WIT TAS
Ba AMSA saurfwisa |
( 292 )
TY Ta AAUSeIesa Aaa
apes wa Tfsaae |
APM: WEMA GERR W UL W RM od
4648. —
5247. The Same. W
5
Substance, country-made yellow paper. 164%x3 inches. Folia, 2 to.
85. Lines, 3,4 0napage. Character, Bengali of the nineteenth century.
Appearance, discoloured. oh
a)
To the end of the Ksattriya-varga. _
4649. |
4425. The Same. ay
: a
Substance, country-made paper. 15 x4 inches. Folia, 113. Lines, 6 my
on a page. Character, Bengali. Date, Saka 1725. Appearance, dis-am
coloured and worn-out. Complete. | ~¥
Colophon :— ;
raacivaal waafasgrauet ATATUATNETAT TF 3
aateaa |
Post Colophon :—
WHTERT FORA
qal Teueagy aafagiqguias |
Laas Wate zeass ateaT |
a Ht foam: |
(?) wth faut we gat areas fea fh at
SIAL AMAT |
qaaTy Uaatas aafasTawiaaa |
TRALAT |}
4650.
5225. The Same.
Substance, country-made paper. 1643 inches. Folia, 105, Lines,
4,50napage. Character, Bengali of the early nineteenth century. Ap
( 2Oos 3}
pearance, old and discoloured. Complete. Full of marginal notes. (Up
to 70A.)
After the end of the MS., the well-known Sloka of
Bhatti yutaatatefa, ete., is written in a later hand. Then
in the same later hand :—
ge ava: wt 6 ant stafa, etc., etc., Stathers
Wea: weantaea |
4651.
4529. The Same.
Substance, country-made paper. 17x3% inches. Folia, 90. Lines, 5
on a page. Character, Bengali of the eighteenth century. Appearance,
old and discoloured. Complete.
Full of marginal notes of great value.
Last Colophon :—
xaacfsiwnat ATATAPTAMIAA STATATRUSATA wale
ag wa wafaa: |
4652.
5101. The Same.
Substance, country-made paper. 18x4 inches. Folia, 2 to 108.
Lines, 4 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, old and discoloured.
46538.
9555. faarTaesy: | Trikanda-sesah.
By Purusottama. :
Substance, country-made paper. 13x65 inches. Folia, 66. Lines, 8 |
on a page. Extent in Slokas, 1,056. Character, Nagara. Date, SLi ee
1913. Appearance, tolerable. Complete. |
Post Colophon :—
MT AT HAA ers |
Last Colophon :—
| afa sftuantaa-2a-farfaa- Ferber ate
GAT |
( 294 )
This is a supplement to Amarakosa, treating of such
words as were not current in the days of Amara and 80
not mentioned by him in his Koga. The author of the
supplement seems to have been the author of the Bhasa-
vrtti and lived in the twelfth century in Bengal. He was
a Buddhist and the Commentator of his grammar says —
that he flourished at the Court of Laksmana Sena.
See I.0., Vol. II, pp. 280A-80B, No. 993 and the edi-
tion made under the order of Colebrooke in 1807 at
Calcutta.
4654. ,
4757. The Same.
Substance, palm-leat. 122} inches. Folia, 4. Lines, 9 on a page
Character, Bengali of the twelfth century. Appearance, old and diss
coloured. : “S
"A mere fragment containing only the beginning. But_
in this MS. each word is separated from the next by ® —
comma and one set of synonyms from. another by & —
semicolon. is
4655.
9647. Waaett or FEAATAAA |
Muktavali or Visva-locanam.
By Sridhara, the son of Muni-sena.
Substance, country-made paper. 14x64 inches. Folia, 12, Lines,
23 on a page. Extent in dslokas, 1,180. Character, Nagara. Appearance, —
tolerable. Incomplete. a
e ° . x
This is an incomplete MS. of fa-7ataa, a synonymous ©
lexicon, to the end of the Dhanta-varga, the words being —
arranged strictly in an order with the letter of the
alphabet at the end in alphabetical order.
A supplement to the Amarakosa.
Beginning :—
ge LNAI AA? |
& wate anata war vated UIEat
aqeq wwal VATA ata AAT |
aaaty WA AAA TAA aat qa
fmuruntaawgaramt vag farfaa be tl
Farag anTawaawaayt:
sfataataa afagqraeaarat |
a(t laifarat aaa a faa
aqegra arueat a eataat FR Il
awe He Pa HATHA AILS AT
faq Tau Aaa taaataanwat |
SAU: TATaqHtayqanaea-
HHUA aia FSTCATRAT hau
awtfanitafa aa: ufe ATER
MAN VA FAUST GI |
alatnatee Faata rata HT aTA
aay atuafaat[s] waetta ata i 8 A
RCE RIGGI GES
aaifaa: wefaztg yt frarat |
qmana fafa: vfaarfaarat
Sefer caraadt <fed aetat wt
qat HATA Aaa Rafag |
fagraat ufeseey vat fate |
Aa watanantaucanat
amifadtectaat cfaatster war st
atts afaaataaqeaey
alatHa equa fagg a74 |
facqnwieactataaugest
gaat factaar ef afrataa |i et
os ON 6 Eee tte
( 296)
qatar Etta: Haat: |
Pratsfe emer a: qarreararra: |) = |
acaifemateifetamtatsaa arfe fu: |
fecttas auste fase: arerqwara Ii < |
The author Sridhara was a Buddhist. His faulena
Muni-sena renounced the world and made the universe —
the participator of his wealth.
4656.
2584. FATH TITAS AA | <Amarakosodghatanam
K stra-svamv’s commentary entitled Amara-kosod-
ghatanam.
Substance, country-made paper. 1044 inches. Folia, 117. Lines,
17 on a page. Extent in Slokas, 8,000 as given at the end of the man-
uscript. Date, Samvat 1651. Appearance, old and discoloured. Com:
plete.
Colophon :-—
xfa slugetiveraqufad awacat<aet STATA
RUA: SaTH ||
Post Colophon :—
WAT VAAN Sooo fafa |
The date and scribe of the MS. :—
qamgite antinasastasathiatcacr afer: ee
nihia: saad ae) Sufudtqucautray tae
qsautaat(?) ate ate Set Start fafear fax dag
TVA T swfataq zWoaawrdag TSRUTSRATIATA
Si sty Btn wth
See I.0O. Catal. No. 952. The commentator wag a i.
Kasmirian of the 8th Century A.D. it
( 2o7 4
4697.
™, a = a
8745. BJATATE: aztar | Amara-kosa with tika.
A commentary on Amara-kosa. ~
By Kstra-svami.
Substance, country paper. 115, 5 inches. Folia, 32. Lines, 10
on a page. In tripatha form to the end of Patala-varga. Character,
Nagara. Old. Fresh. Incomplete.
4658. ;
5579. BACHE: Zlaracaauten: |
Amara-kosah with ttka-sarvasvah.
With Sarvananda Banerji?’ s commentary, un
trepatha form. :
Substance, palm-leaf. 144x1}inches. Folia, 180. In tripatha form.
Character, Udiya of the eighteenth century. . Appearance, good.
The commentary begins thus :—
. afemaeiuis: afecqet araaaat mes |
aqrafecmaaafaraiey mf |
gtsat Wert + yawanapaante-
aa fafeq adeafes fagur aqatad |
aat F AIT BWeqaaat Faaaat
waresat Sar Yfoy yrcugfacaa |
ary States custartaaetaacars |
- hh “— + oe :
aafy aafayfon: sais fe aa ater |
ated itfa faasq a atasret ata fat ATH I
aatet unaqa: Baran ustyeita urfefqayvaeWaaTs aaa
qWarare zeafa | i
38
( 298 )
The commentary has been lately published by T.
. Ganapati Sastri in the Trivendrum Sanskrit Series.
The date of composition is 1159 A.D.
4659.
qeafesant (AATH TATA) |
Pada-candrika (a commentary on Amara-kosa).
By Raya-mukuta.
For the manuscript see L. 1702, and for a list of |
authorities quoted and consulted by the author see Th.
Aufrecht, Zeitsch. d. D. Morg. Ges. XXVIII. p. 109.
4660.
4683. The Same.
Substance, country-made paper. 17x44 inches, Folia, 5. Lines,
10 on a page. Character, Bengali of the nineteenth century. Appear:
ance, fresh. ‘
A mere fragment containing the commentary up to
the synonyms of Vidyaddhara.
4661.
3526. BACH GZTAT (AATTAT) |
Amara-kosa-tika (entitled Manorama).
Substance, palm-leaf. 161} inches. Folia, 151 by counting.
Lines, 4, 5, 6 on a page. Character, Bengali. Date, Saka 1540. Appear:
ance, old.
The MS. is very old and too much damaged to be
handled without further injury to it. The leaves are m
disorder and leaf-marks all corroded. Counting from the
beginning we get 151 leaves and, in leaf 133B, is the: fol-
lowing chronogram of the scribe :—
( 299 )
fagifeauPTa: |
ATH WATT! |
wicqieafata Wim etha Aatcat fafear atafaga |
On the obverse of the last leaf there are two janma-
kundalis of the sons of the owner, dated Saka 1551 and
1562.
4662.
2204. BACH ATA | Amara-kosa-ttka.
Called BARTYITASATAY Abhidhana-bodhani.
By Laksmi-dhara.
Substance, country-made paper. 9x3} inches. Folia, 56. Lines, 11
ona page. Extent in Slokas, 1,800. Character, Niagara of the eighteenth
century. Incomplete. To the end of the Nanartha-varga. Worm-eaten
and discoloured.
There is only one full colophon in leaf 37B, at the
end of the Sadra-varga :—
sfa waqiuctactea ahreadtera ~awaratafeus
featat afaatae: SAaATH: |
Beginning :—
uyad afyafast fraztqamaaatay safe
4668.
8740. QTATAYT | Vyakhya-Sudha.
By Rama-bhadrasrama. | |
Substance, country paper. 12}x4}inches. Folia, 118. Lines, 8 on
a page. Extent in Slokas, 3,300. Character, Nagara. Appearance, fresh.
Incomplete.
The first kanda with tika.
The Colophon :—
xfa Woraurrsafachaatararacetarat aTeEqng4r-
WIA WAA: Ais: AATH! |
_
( 300 )
It begins :—
& agaiaay aati qe ustifactfad | |
aut faza great qfaaaaaraai |
4664. i
8741. The Same. i
By Bhanuji Diksita, the son of Bhattojr Diksita under oe
patronage of Kirti Sinha, the Maharaja-kumar of
aeiucfaaa of the Baghela territory. i
Substance, country-made paper. 1345 inches. Folia, 13. Lines, a
13 on a page. Extent in Slokas, 675. Character, Nagara. Appearance, :
fresh. Incomplete. a <
On renouncing the world, the author changed his
name to Ramasrama. 119 a
The third kanda only. nome
The Colophon runs thus :—
fa stadaduigaaetactaaatfag Terese
sSathifdstasa 9 =tugifadt fararars-aragfaelfae
factuarat wacetaat arenqurat edtaarage free)
4,"
ol
4665.
8742. The Same (with tect).
Substance, country paper. 13x5inches. Folia, 106. Lines, J] on& te
page. Intripatha form. Character, Nagara. Dated, Samvat 1885. AP:
pearance, fresh. Incomplete. =
The third kanda only.
Incomplete from leaf 26 to leaf 131.
4666.
8743. The Same (with text).
Substance, country paper. 10444 inches. Folia, 51. Lines, 8ons
page. In tripaétha form. Character, Nagara. Old. Incomplete.
The second kanda.
wewNS
( 301 )
Incomplete, from leaf 125 to the end in leaf 175.
A part of qyganm and wRaT |
S743A. The same work.
Substance, country paper. 1145 inches. Folia, 17. Lines, 13 ona
page. Extent in Slokas, 500. Character, Nagara. Old. Incomplete.
4667.
942. The Same (avith:text).
Substance, country-made paper. 12}x6 inches. Folia, kanda I has
150 leaves; II, 391; and III, 154. Extent in Slokas, 17,000 (by a state-
ment in the manuscript). Character, Nagara. Appearance, fresh. Com-
plete.
The manuscript contains the text in the middle and
the commentary above and below it.
See I.O. Catal. Nos. 965 to 967, and L. 852.
The name of the clan of the patron of the author has
been variously read. Weber read it as Varbala, and
Wilson Bundaila or Bundel. All other scholars have
read it as Baghela. The present manuscript, too, in the
only two colophons it has, reads Baghela. ‘The state
. Mahiyara of the author’s patron is Myhere in the Baghel-
i khand Agency, as given in Aitchison’s Treatises and
Sunuds. Bhanuji Diksita, son of Bhattoji Diksita, became
a Sannyasi under the name of Ramasrama.
4668.
8744. wtaaTeaT (syacaTaataT) |
Piyiusakhya (a commentary on Amara-kosa).
By Rama-krsna Diksita, the son of Govardhana Dikstta.
¥ i. Substance, country paper. 11x 5 inches. Folia, 64. Lines, 10 on a
page. Extent in Slokas, 1,800, Character, Nagara. Dated, Samvat 1694,
Old. Fresh. Complete.
( 302 )
The third kanda only.
Composed in Samvat 1694.
The last Colophon :— a
sta idtasatifaaaqrmametiaatactad aT
atae eataats! HATH | h.
aaa AcrPsZaat (.eee) UB atafeant faa | i
ttawanad ati ctamanfata tere |
fama ciaqaneteaaaas
aicammfazat waara (?) at
ataaHacqa Fearne sat yal
famitua fayat aaaaaTs | ag
4669.
uaTaaTeet | Padartha-kaumudi.
A commentary on Amara-kosa. .
By Narayana Cakra-varti. i
The present manuscript has been described by Dr. :
Rajendra-lala Mittra under No. 922. : ie By) —
A commentary on Amara-kosa by Narayana who is
later than Raya-Mukuta (1431) whom he quotes. (See
next number).
Post Colophon Statement :— .
ATA WHEAT WERO
sfauaaatatn safe gat qataat
ws ata faa vat Tent aTT
The authorities quoted are :— . " *
Bess
(1) fa, (2) weenta, (3) arvgte, (4) wrerafa, (5) weatgaret
(6) teeuaia, (7) ave, (8) wa, (9) xe, (10) fara, (11) wargy,
( 303 ) 7
(12) avaeqfa, (13) Araagagerm, (14) foray, (15) ara, (16)
tanta, (17) autx, (18) ataqzt, (19) ate, (20) faareita, (21)
areaty, (22) arial, (23) xata, (24) arfs, (25) araraa, (26)
qateetz, (27) wate, (28) ufmagqsrafa, (29) aA, (30) ufg,
(31) ataatexu, (32) ~araatat, (33) atwawaa, (34) gata, .
(35) crmagge, (386) qamtu, (37) uTquety, (38) waxatat, (39)
tanta stetfaata:, (40) utfafa, (41) we, (42) weant, (43) S-
tataz, (44) ataarat, (45) uraure, (46) atfaeta, (47) afafa,
(48) armaa, (49) wequx, (50) ataaiz, (51) ataa, (52) WPA,
(53) agaraat, (54) Hau, (55) arra, (56) ataacu, (57) BAe,
(58) aradt, (59) aoatae, (60) waa, (61) ade, (62) aaa,
(63) atfauta, (64) atazte |
4670.
4616. The Same.
A commentary on Amara-kosa.
Substance, country-made paper. 17x33 inches. Folia, 10. Lines,
8onapage. Character, Bengali. Date, Saka 1701. Appearance, fresh.
-_-
A fragment, containing the commentary on the
Linga-samgraha-varga only.
Before colophon we have in this MS. the date of
composition :—
Dia Watsaturancated cate “eyso ” |
_ Post Colophon :—
Bla GH WAM: GAL VERY | WHATT Woot |
( 304 )
4671.
3157. TVhe Same.
A commentary on Amara-kosa.
By Narayana Cakra-vartti here called Pita-tunda.
Substance, country-made yellow paper. 17x 3% inches. Folia, 189. p
Lines, 7 on a page. Extent in Slokas, 7,900. Character, Bengali. Date, —
1632 of the Saka era. Appearance, discoloured. Complete. 1
Colophon :—
sfa os ue aatayarTaararaetarat fargtfecirwal-
| WRT: | AaTae afeaat | "
Post Colophon : :—
AVA | WRIST |
TA Ua AUIGAIH INS HeTte hea
wat Psasasy stant ua eueat faut |
arat fexciaasatareaatfeugrms
asuate werstm afyat qata wa Ufa |
At the end of the Svarga-varga, the author gives-his
family name as Pita-tunda :— ;
yaqusatiastfata [ ware qutfate ]
Laatataqusagit |
fataracatauteyant
ate aq feat fanaa: 1
| Pata-tunda is one of the 56 villages which gave
names to the brahmans brought to W. Bengal by Adi-
Sura.
The commentary was composed in Saka 1540, given
as the current year by the commentator while on the
section relating to yugas.
See L. 922 and 1.0. Catal. Nos. 958, 959.
( 305)
4672.
3410. qeHsact | Pada-manjart.
A commentary on Amara-kosa.
By Loka-natha Sarman.
Substance, country-made paper. 173x3 inches. Folia, 127. Lines,
ll on a page. Extent in Slokas, 8,300. Character, Bengali of the
seventeenth century. Appearance, discoloured. Complete.
For the beginning of the commentary, see 1.0. Catal.
No. 983. The second introductory verse, as quoted in
1.0, Cat., is not in the present manuscript.
The work ends thus :—
xe faecuara fag aa a aaa |
afeuat waaterstat upmeqeatata faa
Colophon :—
fastf dowat: |
faasalattaramas mute fawifcaasray l
ates. =
| fruta aa weagel qurmegq weermetyanaled |
7 afa stiviaataeatatad featefsaxa waTHa |
>
f
A673.
~
5148. BJACHTEY: | Amarakosah.
(And Bharata Mallika’s commentary called Mugdha-
bodhint on Lingadi-samgraha-varga.)
Substance, country-made paper. 17x4 inches. Folia, text: 9] +com-
mentary 20. Lines, 5, 9 on a page. Character, Bengali. Date, Saka
| 1665. Appearance, old and discoloured.
; Amara-koga is incomplete, going to the end of Lingadi-
/ samgraha-varga (leaves 1 to 91). The commentary on
Lingadi-samgraha is complete in 20 leaves.
39
( 306) ll
Colophon to Amara-kosu :—-
saacfawaat arafayrariaa nigh a1G
¢ wa wafaa:) sfa fagrfedqes | ‘
Post Colophon Statement : —
mart eden) atefe:
fie The commentary begins :—— 4
se aat TTT | a
afagaarfeantaarara uetfce = Whe 14
dave: | aa var afasraifaai aif
satteat a fatea: | Be
Colophon :—
ec - afa fagifedawan:
3 Z AMAR aRAaG, ctec., etc.
4674.
3398. avratfaeat | Mugdha-bodhini.
A commentary on Amara-hosa.
By Bharata Sena or Bharata M allika.
.
-
o
Lines
ie > Substance, country-made paper. 184 43 inches. Folia, 210.
|
Ps 12 on a page. Extent in Slokas, 13,800. Character, Bengali. Det
> 1730. Appearance, fresh. Complete. Well-written andjcorrect. f e
Colophon :— oh
sfa Faq-efeecaraat aceiterand ae
@a(aar) factaarsiaHeataeiarat qrratfaal fagt
b
HUSA: SAHA: |
Post Colophon :—
arataguaatd safe aferaattara |
Wa HATH Haltsst feast samy q |
( sU7 }
Saba THIN Bray LTATast: |
CAITR: WAST SSAA WAH i
Beqaetaa fafear fewmat war |
LAR AaTSa4 Beat waahaat 9
zuya aA: 1 mss 4H:, etc. etc., ete.
See 1.0. Catal. Nos. 973-976.
The commentator lived in the middle of the 18th
pcotury AD.
l have seen his great grandson Loka-natha
Mallika.
4675.
5162. The Sane.
A commentary on lLingadi-samgraha-varga.
Substance, country-made paper. 19x34 inches. Folia, 18. Lines,
10 on a page, Character. Bengali of the eichteenth century. Date, Saka
1622. Appearance, discoloured. Complete.
Beginning :——
a TAT uNad alaqears |
= — — =~
atagy | aqieita HU SAaa as: Ya: FE aT
ROE! AMI a |
Hind :—
afa Ala ySRyl AVA YTsaLa: |
ATARI TH UTAAaR |
gfa wilawraarqaayaaty
AUTLUTS TIS AMASE HAT! |
sactateante qrralatqararg
ys waa: yeactarfegaqr |
Colophon :—
xfa siluxaGagai(?) qratumarmamcatyetat
HATH |
( 303)
oj
Post Colophon Statement :— ‘
am: ema | SEA TH! | | QUART MATT UERR
afea 3. wUSTam Sasa taqT: genta q
aiwfanriata Bae |
4676. .
125. ferstfedaeaztat | Lingadi-samgraha-teka
ANONYMOUS. a
”“~
Substance, country-inade paper. 124 « 3 inches. Folia, 17. Lines, 8.
Iixtent in Slokas, 400. Character, Bengah. Date, Saka 1244, Appear-
-
ance, fresh. Complete. 5
It is a commentary on the last chapter of Amara-kosa,
and not, as Rajendra-lala says in L. 926, on a treatise
~ Fy
#éAY
on grammar.
Colophon :—
fasifeaqqectat |
Stucanfannat tat aa fafeat a '
UAHA || AA (RVs ATS VB HIHIS Fae an
Wy
aaiat fafa wafq caatare uxfeae Far ateedl Eb ‘
wey
aii
Yet WAY AATH BEA | ae |
4677.
5131. fastfedueteuet |
lLingadi-samgraha-tippant. ve
By Mahamahopadhyaya Rama-naitha V idyd-vacaspati. aa
7) 5
Substance, country-made paper. 16x31 inches. Folia, 10. Lines, a
on a page. Extent in Slokas, 350. Character, Bengal of the eighteenth
century. Appearance, discoloured. Complete. |
( 309)
Beginning :—
AAT WMITA |
afaguietefe | utfafiacafaaamefafrath oat
alfa amfea: aarfes: uaa: RIV WTA
saifesya alata ate aes eae ATUATS: BATIAS
Yost qsalt yaa aa Hy ATS: |, etc.
Colophon : ;
Hela eer steal Starry fa-agrarastac fa
atat fagifeaqem tema: afaqard: sara: |
Post Colophon :_— |
fafed SASSI BReWaquaa wena
feat alee fasraa |
4678.
4004. The Same.
Substance, country-made paper. 19x33 inches. Folia, 86 to 214.
Lines, 8 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, discoloured and worn-off,
Vrom the middle of the Patala-varga to the end of
the Brahma-varga.
The colophon of the Brahma-varga runs :—
ata crantafagqrraafaaad saqyarat a7 |
In the colophon of the Bhimi-varga the commenta-
| tor is styled Mahamahopadhyaya.
203A, «fa awiAetugia-stoaafaaarmafagirarea-
farfaa foarte fediaaiae afaga: |
—
: EEE OEE ..
. *
( 310 )
4679.
3896. The Same.
By Raghu-natha Cakra-vart.
Substance, country-rmade paper. 174 «3 inches. Folia, 34 to
Lines, 6 ona page. Character, Bengal. Date. Saka 1695. Appea
old, mouse-eaten and discoloured.
Incomplete at both ends, from the middle of Svar
varga to the end of Manusya-varga. r
At
i4
ance.
——
+e
Colophon :— ~ q
sfa caaraama aaa AA CST ATA sailfaaea
HATHA | _
Post Colophon :—
WHIZ 2E4 A Re W UTA |
4680. ‘a
3024. FATA A AST | Amara-kosa-kaumudt. —
A commentary on the Amara-kosa. a
By Nayanananda Sarma.
Substance, country-made paper. 18 x 34 inches. Folia, 17 by ¢ COL nt:
ing. Lines, 1l ona page. Character, Bengali of the cighteenth centt ‘v.
i?
Appearance, old and discoloured. i i
A mere fragment containing only the beginning of
the commentary. Even the Svarga-varga is not com
plete.
See LO. Catal. No. 982.
AGSl1.
3503. XAATSAT | Ratna-mala.
A commentary on Amara-kosa.
By Ratnesvara Cakra-varti, son of Rama-natha Calera-varti.
Substance, palm-leaf. 17x 1} inches. Folia, 144. Tines, 4. on 8
page. Character, Bengali of the nineteenth century. Appearance, fresh le
. sr S
¥Wrom the beginning of the Pura-varga to the
Manusya-varga which is very nearly complete. Unique.
Colophon Lid leaf L6b:---
ata rare serra ace FTN
fiarat uranfaaaara |
A682.
L617. BATA: | Amearoddyotah.
By Purusoltiame Tarkalankara.
Substance, country-inade yvellow paper. 15x83 inches. Folia, 184
Lines, 6 and 9 on a page. LKxtent in Slokas, 6,600, Character, Bengal.
Appearance, very old. Complete.
Post Colophon :—
AAC AIT AIAT URATWAY fat |
qarequcfaeey awa weTaisttal[’] |
faxinaat a feat aateyat
feu yatAata eaqaat
e seq aaaariaatat
qesHxala TeHRUTsa |
Last Colophon :—
sfa sStilawataaantasieaaacaa |
fagifeeaeret say am: garfera: WAT 1
It is a commentary on the ‘Amara-kdsa’ by Puru-
sottama Tarkalankara. It is a unique commentary un-
known to Aufrecht.
It begins :-—
FS CPRILA ACURA TIAA |
CEMA FHS TTA (P)AILUTT |
( 312 »)
fasta fra?) afta RIAA SUTat
qTaTeat ABA RRR: |
qamaity aa auf aes
wal Bat qaaay a foatea faa
wat afmattat aafa 4 Haraata Ate |
sptaaa aaa ae etafeaat STRAT |
waaay: ufeaanitiueg a Hat aatg 7 ATE |
AAR aTAAAHT AFA AATSALAT: |
Authorities consulted :—
mIzeqet; 2A, ataHusim: 3A, atfaatgara ; 3B, atea- |
waa: 5A, canta; 6A, BaAraATAT; 6B, faatata; LOA, feaq-
ata, atat; LOB, weerma:; 25A, atet:: 26B, aria:; 324A, ag,
faargara ; 49B, fara:; 50A, fartee:, ate, arate; 65A, 3;
75B, afeatt; 78B, eA; 105B, faarta:; 131B, arte; 132A,
zwa:; 149B, wat; 159A, aaa; 159B, vca:; 164B, areat ;
165A, @atgy | :
4683. |
9938. SATATE: ATH |
Amara-kosa, with a commentary.
Substance, country-made paper. 12x4 inches, Folia, 39. Lines, 9
onapage. In tripatha form. Character, Nagara. Appearance, fresh.
From the Bhtimi-varga to a portion of the Vanau-
sadhi-varga.
4684.
7994. BAATHASTAT | Amara-kosa-tika.
(Anonymous. )
Substance, country-made paper. 1744 inches. Folia, 56. [ines,
10 on a page. Character, Bengali of the seventeenth century. Appear:
ance, old, discoloured and worn-out.
From Svarga-varga to Manusya-varga.
OQ a —
*
( 813 )
Beginning :—- _ * =
S° TART TMI |
Se aIaTHItA BHA ala aatfa afefe: |
aha aafastaqgiad frutras |
gaya faafaarara afaaataaraiiaa wefeate-
2a a umumel easraa WayAetS Tela |
Svarga-varga ends in 22B ( aawvert a qaTar: )
Patala-varea ends in 28b ( UTaTaaTat qa: TatTaazt )
Bhtmi-varga ends in 29B (afasurat am: afaam:) and
so on to the Manusya-varea.
4685.
ar 4 — V7 e
S747. BaTaAra: ata |
Amara-kosa with a commentary.
Substance, country paper. 104x5 inches. Folia, 188. In tripatha
form. Character, Nagara. New. Incomplete.
Amarakosa with a commentary from—-
(1) 5 to 40 leaves. (2) 1 to 50 leaves. (3) I to 25
leaves. (4) 65 to 95 leaves. (5) 69 to 81 leaves. (6) 18
to 38 leaves. (7) 40 to 53 leaves.
A686.
8746. FATHASTAT Amara-kosa-tika.
Substance, country paper. 12465 inches. Folia, 41. In tripatha
form. Character, Nagara. Fresh. Incomplete.
The second kanda. Leaves 1-41.
4687.
5086. UATIAA AIST | Pancayatani-vyakhya.
Substance, country-made paper. 17x 3} inches. Folia, 5, of which
the first is missing. Lines, 8 on a page. Character, Bengali of the
eighteenth century. Appearance, old and discoloured. A fragment.
40
( 814 )
®
Every leaf of the MS. is marked Pancayatani- vyakhya
on the right hand side. ’
“é
U
It is a fragment of a commentary on Amara-koga,
called Paficavatani, as if gives five different interpreta-_
tions of the opening verse. !
4688.
LO523. faxyyuarTsa: | Visea-prakasah.
By Mahesvara.,
Substance, country-made paper. 94 «4 inches. Folia, 115, Lines, 9
on a page. Extent in Slokas, 2,300. Character. Nagara. Date, Samvat — 1
1809. Appearance, discoloured. Cornplete. ,
Last Colophon :—
tf senna Wa TaRece at
fargoarat fata: ufespe: aeaaT | Be
Post Colophon :—
Haq tod AW HIAUS BH UR Ara |
A homonymic dictionary, compiled in A.D. 1111,
well known and often noticed. See Oxf. No. 428, I.0.
Catal. No. 1000 and L. 1581.
4689.
754. The Same.
For the MS. see lL. 1581 and tor the work, H.P.8.
-Nep. Cat., Vol. II, pp. 10-110.
Leaves 69 to 78 are missing.
Post Colophon :—
WY? PAT RVG a SAAT FLUUMAR WH ware
tar aa aaat qty waaay; RATAL afeafa aud
Raquel FeNe awa afasagqar aerata fated
slacet sey |
( 315)
4690.
7224. sfaurTafaarata: | Abhidhana-cintamanih.
The first or synonymous part of Hemacandra’s dictionary
fatima osha).
Substance, country-made paper. lOkx 43 inches. Folia, 53. Lines,
15 on a page. Character, Jaina Niagara. Date, Samvat 1769. Appear-
ance, discoloured. Complete. A beautifully written manuscript.
Colophon :—
c a - .
saa Baas factearat ahaa aa
Alatat ATATIRTS: VE: BATH: | aaarat Baal FI
sax aye taaqmaty-ataarat |
Post Colophon :—
saq Vode TH TIEQaATS yaa aaAtfeat saat
fafa@afas Gam usgTicsiginca®S we aitea |
Well known and often printed in India and Europe.
See 1.0. Catal. No. LOO.
4690A.
6614. The Same.
Werth an Avacure.
Substance, country-made paper. 1145} inches. Folia, 145. In
tripatha form. Character, Niagara of the eighteenth century. Appear-
ance, discoloured. Complete.
Last Colophon :—
Saas Saas achyara AHIR FS || -
WA ERE I
Last Colophon to the Avactri :—-
Fema gfe: HATAT |i
( 316 ) q
Post Colophon :—
AY Haq |) Rema | AaRITTHAt Ay eT
waa VAG | 3
4691.
17338. Vhe Same. |
Substance, country-made paper. 11“ 4} inches. Folia, 155. Lines
8 ona page. Extent in Slokas, 2,772. Character, Nagara. Appearance, _
fresh. Complete in six kandas. .
See 1.0. Catal. No. 1004, p. 283A. Often printed in |
India. A critical edition at St. Petersburg, 1847, 5
4692.
748. ZAaTIaA S: | Aunekartha-samgrahah.
By Hema-candra.
For the manuscript see L. 1587.
Leaf 2A :— a
samasaastattad = waanidogs waarae:
i=
a i's
Ie: | |
Leaf 32A :— | ss
camasadataias 8 saatadoy 6feacamet
tzata: | at.
Leaf 72 :— a
o fARQUAIW: FATH |
After 72 begins a separate pagination.
LTA, ¢ aqHa@xalas: VATA |
20A, o uM@uaqrae: arya: |
20B, in the first line #ea@uatae: we: HATH! |
Then begins Avyaya-kanda, :—
saat aged witdta qumata cafe
¢ sr 4
So Rajendra-lala’s statement “ Hy_zwAwY aay wfasa ”’
is not correct.
The last colophon :
© =«, a | ae . ~ e
saqiaiaeaasfaeaasiaaoe «6 samartanreantag:
AHH: SATA: |
It ends :— i
HAART AATATMUA Arey ATSRAHAT |
Wea Aah Haar Etyai qequd |
Heat ATA Rat faqarquynrea: |
+ + + + Fa Ox vated Hara! |
4698.
7999. The Same.
With a commentary called Anekartha-kairavakara-
faumudt,
by Hemacandra.
Substance, country-made paper. 104 x 44 inches. Folia, 80. Lines,
| 15 on a page. Character, Jaina Niagara of the eighteenth century.
Appearance, old and repaired. Incomplete at the end.
Beginning :-—
qUeAimmaaray fanrtarwaae | :
qa Jataaarsacatacaga |
faaqunI TrqacuaiAcfa ga aaTatat (2) |
aifsuaaiaaigfcarsegfaatzarerat |
wieatifa aie want wdafefattad fae 7 |
fantquiaaifa a faaastateetha |
fanrquiatsatfuatiayt fafa: |
wal a ofsa: asa qantcadiate |
ae ay waar frsanaafeqraas waeTeMIAasty-
| Jaya yyfaulats AW UA PTASsqaaAACIARGIAA |
( 318 )
(Text) WTAE a! HAHAHA SHU: ;
wReceaeat al FAswT yas |
The second or homonymous part of Hemacandra’s
dictionary, arranged in six parts. " |
5A, saree a Baws fas faa ara eaTae-atae taht
wa SSA sae HAT CneaeHTs: GHA! BATH |) fog |
ae) wy facta fearaeatega | ast ara |
The second kanda ends abruptly.
4694,
8748. WOAASAITISTT: |
Sesa-samgraha-saroddharah.
(A part of Abhidhana-cintamand.)
By Hema-candra.
Substance, country paper. 945 inches. Folia, 18. Lines, 8 on a
page. Extent in slokas, 275. Character, Nagara. Date, 1901. New.
Complete.
The last colophon runs thus :—
rarraeadstantaarst =| oa area faaafasara-
Aaa WeaHaeaAI Se: HATH: | Beag Ve0r Biya
BTaM AA 8 ARATE Way |
Lt beguns :—
yfauaiea: faRainmetaqarea: |
furgaaararat aati vadtas |
4695.
3050. fafamaTaaae: | V vurkta-nama-samgrahah.
By Bhanu-candra Gani, pupil of Stra-candra.
For the MS. and the work see L. 4015. It gives the
derivations of the words in Hema-candracarya’s Nama-
f Biv a)
samegraha. It was originally intended for the author’s
pupils, Bhavacandra and others. The author was de-
corated with the title of Upadhyaya by Akabbara
Jallaladina.
4696.
1734. ATAATSAT | Na@ma-mala
(otherwise called Sarada-nama-mala).
By Harsa Upadhyaya.
Substance, country-made paper. 103x423 inches. Folia, 25. Lines,
Q9ona page. Extent in Slokas, 840. Character, Nagara. Date, Samvat
1869. Appearance, fresh. Complete in three kandas.
Colophon :
xfa osteusurgratached «= are(et | frdzaraarat
Salama AATAT: |
Post Colophon :-- 3
aaq ysce arate factor eqattu Faq Gaa
stirfweateaa Faq stata « wifrd caw
/ fafesacrama |
‘There are altogether 433 verses.
The last verse :—
sai) Saraararat waathiaa(#) eat |
afanAtsauatem sa: Aral | vathrat[:| |
; Beginning :—
qaay uaa afeeraaeaTpata |
VAIS AAAS aratfaa AAMTLAT |
) auqatata |
aTISqt WIEST ATS Uteat WL: ] ATAAaT |
SAIAl ABTA BlXet arated a): I
ee).
i
D,
( 320.) yi
NUTATE | ‘e
faataa: oyatfal +] fewest wsrraza: | a
SHTe UR Aeateeamifau: | ;
rages Saasqanase: |
aac aay fafeqfaucise a |
Lind :— oo .
aizeetat (7?) ate | | ‘s
yates ufatan face qaattcaa | o
UISaTa |
q2a4 ulead oat Wiesel F |
4697.
3741. STATA | Marabals.
By Purusoitama,
‘Substance, country-made paper. 15 2} inches. Folia, 16. Lines, 5 :
on a page. Character, Bengali. Date, Saka 1591. Appearance, worn: /
out. Complete. S
Colophon :— ‘am
ei
sfa aainifeaatiqaeatdaeafacfaa Bteraat Sata! +
"Post Colophon :— ee
fafutar staat smarazauere: | we Quen ah
aaa ae i
A Sanskrit dictionary of uncommon words. See Lo
531 and I.O. Catal. No. 1020. . 7 i. .
The work has been printed repeatedly in India.
-— Fume
) 4698.
. | 2830. The Same.
By Purusotlama Deva.
Substance, country-made paper. 19x45 inches. Folia, 12. Lines, 7 |
on a page. Character, Bengali. Appearance, discoloured. Complete.
Ink failing. ~
A well-known Sanskrit dictionary placed by Dr.
Wilson in the tenth or eleventh century. For the begin-
ning and the end of the work see L. 531. Repeatedly
printed in India.
Purusottama appears to be the same as the author of
Bhasavrtti and Trikanda-Sesa and he adorned the Court
of Laksmana Sena, the last Hindu king of Bengal, in the
end of the 12th Century A.D.
4699.
9312. afeatare: | Medini-kosah.
By Medini-kara.
Substance, country-made paper. 104 inches. Folia, 7. Lines, 13
On a page. Extent in Slokas, 230. Character, Na&gara. Appearance,
tolerable. Incomplete. Written in a beautiful hand.
lo the end of the Kanta-varga.
The MS. of Desdvali-vivrt? in the Sanskrit College
Library says that Medini-kara the author, the son of
Prana-kara, was the founder of the city of Medini-pura
in Bengal in probably the thirteenth century A.D. when
Bengal was a Province of Delhi and Orissa was indepen-
dent and included the border district of Medini-pura in it.
Medini-kara was a governor under the Gan
Orissa.
See I.0. Catal. No. 1024.
ga kings of
4700.
4496. The Same.
Substance, country-made yellow paper. 12}x4 inches. Folia, 174.
Lines, 6 on a page. Character, Bengali. Date, Saka 1746. Appearance,
fresh. Complete.
Last Colophon :—
ata AfeTtacHaltaaate: MATH |
4]
( 322 ) ae
Post Colophon Statement :— : all iv
Ay WaT | Sterrsamamm fatedtsd ate
sitfara: | warTezr yoed | Waq Asse asrearerfiate:
feat aeqatsaad | | F
stataaetzat aata Se | : M
4701.
4426. The Same.
Substance, country-made paper. 164x434 inches. Folia, 110. Lines,
ab 7 onapage. Character, Bengali of the nineteenth century. Appearance,
i _ fresh. Complete. i
U . 4702. |
i 3541. The Same.
‘ 2 Substance, palm-leaf. 17x 14 inches. Folia, 149. Lines, 3, 4 on 8
page. Character, Bengali. Appearance, worm-eaten. Complete. oe
7
ows
re '
4703. a
-
2823. The Same. alll H
Substance, country-made} yellow paper. 194 x34 inches. Folia, 3
Lines, 7 on a page. Character, Bengali in a modern hand. sppeaentaay
fresh. : i
A fragment of the well-known homonymous diction:
ary. a
4A703A.
10458. TAAIW | Ratna-kosah.
Se
Substance, country-made paper. 54 x 3 inches, Folia, 38, Lines, 5 p ’
on a page. Extent in slokas, 288. Character, Jaina Nagara of the Po
nineteenth century. Appearance, fresh. Complete. > :
Enumeration of things of definite numbers. Fora —
work of similar nature see Oxf. 352A. ,
Beginning :—
Taal aaah Brerawm: |
BAUR CA TAWA |
HUIS FANG Canta aged |
qa Wat Bat HAF ||
aut att yas fafeustaeatai fafeat
ufa: | fafaar weet) aa: qerep) ware: Gearet |
qcfayAIaawat | AATF Ls |, etc., ete.
6A, vefauRtaaTt |
Qa | wadw wataawi wed) weal
TATE | RAR! Rl Wears!) wet freq
fasta | Saat) «oat 6oy]el Nate! aga
UIeRS | STHAW | «= MKSAM | «| HeuTwaM | «= eT
gfsa wai utfan ata) qaeraa! was!
aarti faquy i atl aaaae efi) BT
efiue! stet! ata afta | Star
(But by actual counting we get 37 names of royal
families. )
15A, wqzustfasa: |
ya aga ats) AGE | afeR) ATS! FFI
& AFIT | FRET! WES! atat | aga | | AAUTe |
Base | AYRE! GeTa) aed, wel wes
giaat | Eeaa | sauc, steal. uta | Ua |
aay | Stee | RMT) Te | ATS eRe
Heute | Ae) Wel raat saati afar)
aratat | arafeat: fawa) fae! aract: aa
xm |
Sax! qe) faa) ata AUT | SAT
( 324 )
quam | | oath) Fae) ona) OTS) ORTRTT
ase? ))0)= Oo feataa 0 oatear | terersefams
yaa (?)) ami faeai ut! ata | aaa]
aq} fae | amtz | sfasi Stuaa faci
faze) oatat)) oo amat(atyaz | oaetere att
atn(4)ztaz | oaTAar! He) Uifafam | aTset
zmrafa |i
End :— . |
qufas uaa) isa) tt! Bal Baal
qya afa |
Colophon :—
afa afaaeafasit TaaRTH aafaent rare |
4AT7OA.
8990. afyura afsat | Abhidhana-candrvka.
By Misra Bhima-sena.,
Substance, country paper. 10444! inches. Tolia, 42. Lines, Il
on a page. Extent in sS!okas, 1,100. Character, Nagara. Dated, Samvat
1740. Old. Fresh.
Complete in 51 leaves of which 16-20, 37, 47-49 are
missing.
It begins thus :—
qauIMBgeRsteaue aaaevataa f
ratgifafattequerye Wess |
ufausaaa yeaa Beraatsi wear
earawmMmagagatad iA as ws |e I
qawnygi way ast aAsatarafaatay wets:
fafad afafanraaaed fara aafraraafataa |
See Ulwar 1225, Extr. 279.
¢
5
f
’
'
EB
Aue
(
It is more a dictionary of medical terms than any-
thing else.
325)
Bhima-sena as a grammarian is quoted by Raya-
mukuta and by Padma-nabha.
4705.
: 1252. WegmAeqg | Sabda-kalpa-dru.
~ C
Otherwise called RNa eT yUS | ANesava-nirghantu.
By Kesava.
Substance, country-made paper. 11}x6 inches. -Folia, 113. Lines,
8to9on a page. Iixtent in Slokas, 2,825. Character, Nagara. Appear-
ance, very old and worn-out. Incomplete at the end.
For the beginning of the work ‘see Burnell 48B and
Oxf. 189.
According to Burnell the author consults Katya,
Vacaspati, Vyadi, Bhaguri, Aniara, Mangala, Sthasénika,
MaheSvara and others.
This is a copious, classified vocabulary, having 27
sections, divided into three kandas ¥, ¥Wa:, @:, after the
fashion of Amara-kosa. It is a modern, but very rare
. work, usually going by the name KeSava-nirghantu. (See
| Infra.) :
47054.
6626. The Same.
By Kesava Vyasa.
Substance, country-made paper. 11}x5 inches. Folia, 167, Lines,
13 ona page. Extent in Slokas, 4,200. Character, Nagara. Date, Samvat
, 1721. Appearance, fresh. Complete. |
See the previous number,
This is the author’s copy dated Samvat 1721,
( 326 )
The work ends :—
aunt HAHA faa AH Hawa |
AIT TAT anata one: fafearaa: |
(Common to every section.)
gate meena a Ta faa
gua: aff: ame: dota: fafaquat |
wia: wanuTAd wiaaw farafea | ,
amp tey Saqaura: aiaizfaa ofaen: |}
gama a zat efamatietaT: |
faqa: wat ATRRqRATeT A faa |
famata weet ats ATA Searaaisfaa (?)
watauga arvat afaat fafeat few | (?)
Post Colophon :— .
BAT AOR aq Vaasa age vai cfaqrat
A faatfaal ATAMAA HURATHATATA AG: |
See || waar |
quaged 24 sist farat fad |
aaa cat faa aquraz |
fafeat afaas |
DUH Broo PiYRULMaAT AA |
aeut aaa Gavafatran: faa |
aS ACI HAM BAT Hatha fa: y
Sie
4706.
4766. ATATY MESA Gq: | Nanartha-sabda-kosah.
Substance, Nepalese paper. 1033 inches. Folia, 111. Lines, 6, 5 on
a page. Character, Newari of the eighteenth century. Appearance, dis-
coloured and worm-eaten. Very nearly complete. Breaks off in the middle
of the Yanta-varga.
Beginning :—
ee aat efeecrai i
uTg at Hzarfaar wafear(a) tea
TWHIAqAat: AY Tefaa WATaa: j
Zags AY ae alfafatet |
werasarat Wat fauraafa areat 0
qataremctahe were fea 7 |
aaTasatatsa faydts awe I
Wrast Saves fatenanrg ata |
waaagea Ta fatetas (a) gafaq 1 Kafe |
4707.
3856. SATSAMAARTE | Lyadyanta-kosah.
by Hrdaya.
Substance, Nepalese paper. 11x23 inches. Folia, 80, the eight leaves
at the beginning have lost their leaf-marks by corrosion, being very much
damaged and worm-eaten. Then we get the leaves marked. 11, 14 and 15,
then 18 to 80 of which 33, 36, 51 and 58, 76 are missing. Lines, 8 on a
page. Extent in slokas, 19,000. Character, Newari of the seventeenth
century. Appearance, old, discoloured and worm-eaten. Incomplete both
ends.
Colophons :— |
24B, sfa fanax strecafachaa wreammata fay: are! saa!
aan; 29B, ayanuanea feds autaa; 41A, efa atfayuaca
ata: WMATA! 5
There is no colophon to the pumlinga-prakarana,
which ends in 47B after which we get the following :—
SAT Sita Vast Hea Beart sar; 62B, Rael Wa-
aTAT Sale | |
The manuscript comes abruptly to an end, while
dealing with the declension of the pronouns.
( 328) |
4708. .
4833. 4
Substance, palm-leaf. 11% 2} inches. Folia, 1 to 66, of which the
following leaves are missing: 5, 7, 55, 58, 59, 62, 64 and 66. Character,
Maithila. Appearance, old and discoloured. |
Written in two different hands, the first band wrote
only up to 6A and the second the rest. a
The ‘manuscript contains neither the name of the
work nor that of the author. It gives different meanings
of words arranged in the main in the order of the initial — ;
vowels and consonants and of the final consonants. “i
The object of the work :—
CHIH aa BAR al FaHAE |
| gerda faragad faa Fue |
Then begins the work :—
SAisHaM wfen fasintfa feaqraz | =
HAR AAATH VATA CITA feagKeMe | —
atid START VA waa Uae | |
, siqy VARMA Sta-aTAATSTAAN TAT: |
After the last colophon ta@aqaaan:, we have the well- sh
known verse of Bhavabhtti: 4 ata afafee a: gaara, a
etc., etc.
4709.
760. wteatfyatt ATAATET |
Stghra-bodhini-nama-mala.
By Pundarika Vitthalu of the Karmata Caste (2).
|
A metrical lexicon in four parts.
For the manuscript see L. 1578.
( 329 )
4T7O9A.
562. QSFATIVATA: | Parca-tativa-prakasah.
By Veni-datta.
For the manuscript see L. 1436. The five tattvas are
the five elements.
The following verse gives the date of the work, which
Rajendra-lala thinks to be that of the copy of the man-
uscript :—
afta fanfea we: wifeameart
afauhaxcaqanisteara: VATE |
fafarnaqrtaatfrasaay (1701)
yaaa Haale WT Sa |
The work was written at the request of the son of
Miramira :—
UVaTayATMisa AMtesa haar |
THs: TRTMITGT Hale rgaraat |
42
LEXICON SPECIAL (EKAKSARADI-KOSA).
4.710.
2535. BARAT: | Anckartha-kosah.
By Mankha.
For the MS. and the work see L. No. 2584.
It is not anonymous as Rajendra-lala says. It is by
Mankha. Rajendra-lala reads azatua: ata but it is Fat
aararat Weta “Saga” “ ATILA”? |
Printed in Vienna, Edited by Theodore Zakaria, 1893
(page 379 A Supple. Catal. of Sans. Prak. and Pali MSS.).
4711.
1668A. Ban eeafeasact | :
Anekartha-dhvani-manjari.
By Maha-K sapanaka.
Substance, country-made paper. 104.4 inches. Folia, 13. Lines, 6,
7 on @ page. Extent in slokas, 250. Character, Nagara. Appearance,
very old.
Leaves are injured in the left hand side. Attempts
have been made by pasting ordinary papers to restore the
letters destroyed. Divided into three parts; every alter-
nate letter of the colophons is intentionally omitted.
Colophons :—
7A, x(a] ft(ar)etere(@] alerjatalo(a) falx]eepe)
salar )aLea faa al aat sent ar falar fe: (a jatie)
LLB, x[fa] Alarjet(een(a] Alera aula eae yell
aa[jan(a jas )et eee et ar falate Cejaria]
14A, =[fa] sttlat}ttletja a] aL et }ea[ a) al x ]fa[e] Fa]
| Aaa seat oer falar: (eat) eae |
( 331)
Beginning of the first chapter :—
ARAM AAR ATA ARTA |
aus Hea faata: seurat fearfrwa |
End of the first chapter :— .
TUsTtR: Wat AH TUR: RAW! |
quite: feat qa: qagtiat aitewa 7
Second chapter begins :—
| ary FIV USN aaa sire |
atzreaat zeus fraarsaatfaa: y
It ends :—
TAM TAT wat feNT wat waH |
ae Fat ft vei wet Perea
Third chapter begins :—
CIT WP Sat CIAT Us: AIX Wal AAA |
fast ugaetaad <t fer ex} waa |
Tt ends :—
amafaaatremra (?) aa wea |
syaara abana wat UAIATATUA |!
For reference see L. No. 1404, IO. Catal. No. 1029
and Burnell, page 50B. Printed in Benares (1868).
ATJI1A.
9370. The Same.
0
-
, Substance, country-made paper. 12x44 inches. Folia, 15. Lines,
8,9ona page. Extent in Slokas, 240. Character, Nagara. Appearancs,
tolerable. Complete.
( 332 )
A vocabulary of homonymous words and not of syno- —
nymous as KR. Mitter says (see Vol. IV, p. 28, No. 1404), it
is divided into the following sections:
(1) Slokadhikara, treating of such words as take up & 7
full couplet in their different meanings, (2) Ardha-sloka- —
dhikara, treating of words, the meanings of which take
half a couplet, (3) Padadhikara, treating of words, the —
meanings of which take up a fourth of the couplet, —
(4) Ekaksara-pada, which gives meanings of a single letter
which also take up a fourth of the couplet.
See 1.0., Vol. IJ, pp. 290, 291.
The fourth does not appear in 1.0.
Lt begins :—
HRT AWG la BlHTy fyataw | |
TATE Vad RA AQT Taq |
It ends :—
a: ate aca wa aut atafa atta: |
SIFTT TaaMey aut Afafa athda: | |
at aa cafe cla ga at weetas |
Colophon :—
KATHY MATH |
efa Maracas aviaawafachaarst atarhafragqei we
| DATALUTS! HATH: |
I.O. Catal. under No. 1030 describes another chapter,
F oenee the name of which is not given. It may be included in
| the first Pada, called vattatfuatz, as the words it treats of
take up one full couplet.
The MS. noticed by R. Mitter under No. 1404 gives
One more chapter named WRtynte .
( 338 )
4712.
5291. TARTACATS: | Hkhaksara-kosah.
By Purusottama Deva,
Substance, country-made paper. 17$xX3} inches. Folium, one.
Lines, 13 in all. Character, Bengali of the eighteenth century. Appear-
ance, old and discoloured. Complete.
For the beginning see I.O. Catal. No. 1042 :—
ARTET faarates: ATR Maas |
4713.
3944. The Same.
Substance, country-made paper. 123} inches. Folia, 3. Lines, 6
ona page. Extent in Slokas, 40. Character, Bengali of the eighteenth
century. Appearance, discoloured. Complete.
Jolophon :—-
ata stunataaeatactad ware GAH |
See [.0. Catal. No. 1042. In the present MS. the
vowels come after the consonants.
The consonants begin :—
a: uatufaafes: at atafcfantea:
Vowels begin :—
BARAT ASAT Ale |
4714. mies
9807. Whe Same.
Substance, country-made paper. 106 inches. JFolium, one. Lines,
8 on a page. Extent in Slokas, 44. Character, Nagara. Date, Samvat
1909. Appearance, old.
A vocabulary of words of one letter. It is well
known.
( 334 )
— Beginning :—
Se afea Btaragta AA: |
ghd yazatfa arate fare |
amaafeaarala HSH + + + il
| TART ACHTE: |
BRltt ages BV BHA TyaTaws! |
aaa a Amat aye: ufeatha: |) Karte |
fafuad afeafearaaa TUTGAt Ve WAT Yeod SF |
4715.
9171. The Same.
Substance, country-made paper. 126} inches. Folia, 2. Lines, 13 ,
on a page. Extent in Slokas, 78. Character, Nagara. Appearance, tol- ;
erable. Complete. Neatly written with “pat? on the left hand margin.
é
,
It begins thus :—
NMI AA: |
gard gazaifa atatarafae |
Ale] WRRG TUSHIACHTTEA | % |
aniet efraat a arate faatas |
Hx Tae Ala: ater sas || 2 |
SHIR! UEC Via HATET famwera |
RE ZAATAT VII FERIA TAAVE! | 2 |
THAT SIATAT Ql ATMATAT WAT |
walt soe famtats FeaT | ey Kafe |
Hind :—
waee wareat et masty fanaa |
eléta = vatuat faszare: vattfda: I 3 |
fe: uletaea Stet fe: wWISaaqutaai |
a Bat Bist FT Met 7 gata | Ro |
( 335) |
a WAT at Ufeary aut cufad aa | |
AHS ARAL A VAUMPATY CIF R 1) SE |
afd wares afad qudea || 3¢ ||
Colophon :— ,
TaRIUAT ATHAIST | RHA | Yl <TH Ta ua Tae
‘ 4716.
1668B. WRTAUTPATYTAA | Lkaksarabhidhanam.
It covers three leaves only.
For a description see 1.0. Catal. No. 1042.
4716A.
6888. URTAC away: | Hkaksara-nirnayah.
Substance, country-made paper. 10x4%inches. Folia, 2. Lines, 11
onapage. Character, modern Nagara. Appearance, fresh. Complete.
Colophon :—
xfa waraefama: |
The object of the work :—
AWA SHA HT VP WMT |
xctaataet atarhrad fara wat |
Then it goes on :—
a ustatalxifes: at argfafa wheat |
aatatt TATA a VAT Vetwa! (z) |
[t consists of 33 verses of the anustup metre :—
kind :—
J sitaat Heal Sat slartsaag saa |
BY UI We AS we Bray wFaT |
4
4 .
{
:
( 336 )}
4717.
146. femuanra: | Meri-ripa-kosah.
By Purusottama Deva.
This manuscript has been noticed by Dr. Rajendra-
lala Mittra under No. 471. fF.
4718. ! |
5244. The Same. se
Substance, country-made yellow paper. 15x 34 inches, Folia, a
Lines, 7 on a page. Character, Bengali of the nineteenth century. Ap- a
pearance, discoloured. Complete. | a
‘
A collection of words, spelt in two different ways.
For the beginning see L. 471; I.O. Catal. No. 1037, where —
it is attributed to Purusottama Deva. But the present —
manuscript differs from the I.O. MS. at the end. ve
j »
ae
It ends thus :—
eqt waleala AAT AAS AAT |
Gia Utara uTaeat aa aAthat i (?)
Colophon :—
afa feeutaqata: AATH: |
Post Colophon :—
shaq ferro weME |
4719.
3946. The Same.
Substance, country-made paper. 15x34 inches. Folia, 4. Lines, 5
on a page. Extent in dlokas, 60. Character, Bengali of the eighteenth
century. Appearance, fresh. Complete. ?
Colophon :—
afa fequtey: ate AATH: |
An anonymous Kosa of words of different spelling.
( 337 )
Beginning :— — . *-
Ss AAT TUM |
adufatre-qegafateara Geant Wars |
Tarqyat WifeasAgaAaaga Tas |
HaeTats BrMTSt fagafe_qawat |
Aldqiaat Aig? Bat Hywrai afsat Wat |
ae Was UA TUT RATATAT |
ataat ataat atfa afaetsta afeea: 1
4720.
3815. ATaTeRateaasadly |
Nanartha-dhvani-manjarz.
By Gada Simha.
Substance, country-made paper. 143x3 inches. Folia, 8. Lines, 5
ona page. Extent in Slokas, 105. Character, Bengali of the eighteenth
century. Appearance, fresh. Complete.
Colophon :—
zfa stluefe=efactrartarhafageriaanat |
Post Colophon :—
slarttaea HAT utal<fe |
lt ends:
HAL-RA-NFTIL- yrfa-caatawatatad AAI |
alaT sy afaqeiaaffeat Pinefasa waa |
4721.
3asg4,
Substance, country-made paper. 1543 inches. Folia, 7. Lines, 6
on a page. Character, Bengali of the eighteenth century. Appearance,
discoloured.
43
“%
( 338) |
The MS. contains (1) waTaeaTte: ending in 3A, and (2)
HARTA ALT | .
See I.O. Catal. No. 1042, where the first work is stated
to be by Purusottama Deva. |
The present MS. begins with a, leaving out the vowels. *
Then follows Anekartha-manjari which begins :— |
gaq at fufeaqat wfseea: foaaat | |
qaq 4 wfe aet unaa: vege |
SF AAT TAI |
auger yaa afaaytfa aq ue |
ufagaufag at aq vaTOYy aly F |
fad aa fora: ae Forat atet faranrat |
fara: ate: frat atyt HAzTAaaAT fal aT] |
met faafoat stat atest atta wat |
ate wqregaat eat atest aatzTa |ar |
It ends thus :—
wie fanfaa ara alqaifeqatana |
aay uafaay [aw] qweural waras |
waata [a] arate uatfa afeargat: (2) 1
Colophon :—
FAARAAALYT AATAT |
It differs from I.O. Catal. No. 1032.
4722,
3351-3353A. Contains four works.
Substance, country-made paper. 19x41} inches. Folia, 23. Lines, 5
on a page. Character, Bengali of the nineteenth century. Appearance,
fresh. |
=
Il. wataeata ending in 3B.
( 339 )
Tt begins :—
BRIA VATA: wrerate: fraas? |
ERIE Saya RAT aaiciare saa t
SHITE: VTS! UH BARTS waa |
It ends tin the first line of 3B :—
@li aa aafa uta fate: wera |
aa a afaa: dat eo: wera |
Colophon :—
- SARTACRY: SATA |
This is not by Purusottama; for his work see Catal.
4728.
472232A.
Tl, Anekartha-dhvani-manjari begins at 3B, and goes
to the end of the MS.
4723.
III. A homonymous dictionary, ascribed sometimes
to Durga-Simha, sometimes to Gada-Simha, here to the
latter.
It begins in the second line of 3B of the bundle marked
3351 to 53.
Colophon in the third line of 10A :—
afa stnefewfactaat atanhafaaget Samat |
See 1.0. Catal. No. 1032, Oxf. 194A.
4.724.
IV. ATATACAA | Nanartha-ratnam.
By Sri-natha.
It begins in the fourth line of 10A of the bundle
marked from 3351 to 53A, and ends in the first line of 18B
of the same bundle.
A homonymous dictionary.
( 340)
. It begins :—
gq ng-ug-aaat fans: cura
fatgameq Aaa HATTA |
aaa afeanm aaa: aafa
gazat oeufana angrast |
ataiatura Hatated fafary ofa: ag |
aaa FRI BHAT FZ 7 Il
alatea ufazat: aaa ate a feat |
atfan(?) faaet oe: fraheaed get |
saatataeaingd FAA
wags wa vast wat: (7) |
fadt ante wat waraata
mai aw urea faufa warts: |
alata: TAA SAT faye Saat |
aitaran: we teaata gata |
HAA ASI UAH a faitaT |
qaifaeat feat ofa @ta Bate fafaaa |
amuifeneyg wared fe ata |
aatfeqnaa wafer Saaswar |
YR vad Ale aatafa a TATA |
It ends :— |
TABA ZAI Bretesty yaaa |
qt Vert Ut wig Gatasaasty F |
~ Colophon :—
afa sattarafactad aratdica aarRa |
4725.
3003 5. feu: | Dvi-ripa-kosah.
by Purusotiama Deva.
It begins in the first line of 1SB of the bundle marked
8351 to 53. and goes to the end of the bundle.
Colophon :—
sfa quajuafacfaal fewuate: aarH: |
A vocabulary of words, spelled in two different ways.
See 1.0. Catal. No. 1037.
4726.
| $020. WRTALATE! | Ahaksara-kosah.
By Bhaskara Pandita.
Substance, country-inade pauper. 154 inches. Folia, 2. Lines, 6 on
a page. Extent in Slokas, 40. Character, Bengali of the eighteenth cen-
. tury. Appearance, old and discoloured. Complete.
Beginning :— 7
ge FAT WETS |
a Gsttafaates: at argfafa wea |
aRatwata ( AAAS ) BATA: wart RH SSA |
Colophon :—
stufwautenctsetaa waraeatatsfaur Gate |
4A726A.,
6859. fRATRHIS: | Kriya-kosah.
By Rama-candra, son of Visva-natha, disciple of
Krsna Pandtta.
Substance, country-made paper. 94x42 inches. Folia, 5. Lines, 10
ona page. Character, modern Nagara. Appearance, fresh. Incomplete, >
( 342 )
This gives the meanings of the roots, which are
classified according to their imports—-apparently a very
modern work. Aufrecht in his Cat. Cat. III mentions —
Kriya-kosa as an abridgment of Bhattamalla’s Akhyata-
candrika, by Rama-candra, son of ViSva-natha. The
present M5. is incomplete and the author’s name 1s not
given.
The mangalacarana and the object of the work :—
yemqzTaiat WAS + ATTA FA GAA |
caatad ae fA zaafauratfa fasrra a It |
=> ” oe c
guy faael Hag HAN SaWaT:
qearty faearata aq afa(?) qtaza |
Then tt goes on :—
, auriafe vata faga ate aafa |
saga aad 7 teagan |
2A, ata wiatmaram: (13 verses), 3B, xfa afgam: (29 verses);
5A, xaamumam (26 verses). .
Of the next varga, which is left incomplete, we have
five verses only.
AT26B.
6880. Whe Same.
Substance, country-made paper. 10x 5 inches. Folia, 10, of which
the ninth is missing. Lines, 13. on a page. Extent in Slokas, 960.
Character, modern Nagara. Appearance, fresh.
For the beginnings and the cclophons of the first Tew
vargas, see the previous number.
5A, xfa quatautaa: 8 (28 verses and a half); rfa m=
fata: y (8 verses); 6B, ata HwmBzaztan: ¢ (34 verses); 7A;
efa awfmatai: (24 verses); (of the next vargas we have
1-47 verses. The colophon and the beginning of the
following varga, are not in the MS., 1-23 verses being lost
a ,. « we
( 343)
in the missing leaf); OA, =fa Fsazeram: (24-28 verses);
LOB, sfa aaBztan: (13 verses).
The concluding verses :—
faaraty Hsaet Taala Bard Wet |
auifa aq afaa feat afenatfatt ne 4
arliaafaataat Btu arequa |
wqalguaat aaeae wtast Fad |
Colophon :—
Satara FRATHTTE |
sfa faqataag-cradafictaa Garnet fadtaaie: warn |
4726C.
7171. The Same.
Substance, country-made paper. LlO}Xd inches. Folia, 11. Lines,
12 ona page. Character, modern Nagara. Appearance, fresh.
Last Colophon :—
Batata fRATRTE |
ofa faaatgaquiadatactaad fata? feataarae: aatn |
For the work see the previous number.
In the present manuscript the first kanda ends with
Sabda-kriya-varga.
SPELLING BOOKS.
Pes
¥
4.727.
5049. A collection of words containing the letters “a” a
“_? “a”, attributed to Purusottama Deva. i
Substance, country-made paper. 134 «% inches. Folia, 4. Lines, 7
on a page. Extent in Slokas, 80. Character, Bengali of the early nine- by
teenth century. Appearance, fresh. Complete. A ¥
Colophon :—
afta siguataAzana: Wa ave: ata: |
See [.O. Catal. 1033.
4.728.
3381.
153 inches. Folia, 18. Lines, 6 :.
Substance, country-made paper.
Character, Bengali of the eightcenth century. Appearance,
; iW)
on a page.
faded.
Contains a number of school-books.
I. waraecnta: |
2A, xfa Stoeatuazafaciaa DaracatE: aTH: |
Incomplete in the beginning.
Il. wafaara |
By Gada Sinha, in four chapters.
5A, fa nefactactrargiaaa waar eaTHa |
The number of verses is 49.
6A, xfa FSMRRTERIA AAAS I
Complete in 17 verses.
SB, xfa uefeafactaa safass faafearrates |
afaat amantat afaqguafwatfera fi: 4
( 345)
afa eaqeaanre WHET AATHA |
SBR, sfa uefeefacfaa safaat TRCRI VARA |
In two verses.
12B, raqucaad ataetieteaeat wa |
a Hild Hefa te aera qua wea
Complete in 74 verses.
Ill. waatefama: |
L5A, rfa sAaaataazamat warefaara: Sate: |
Complete in 36 verses.
IV.
15B, efa ames: GATH: |
Vi. WeeRegATI |
ISB, xfa WeREURTI: BATH: |
See 1.0. Catal. No. 1038.
4729.
‘ 8749. WeEHSVATA: | Sabda-bheda-prakasan.
By Mahesvara.
. Substance, country paper. 10x5 inches. Folia, 6 Lines, 11 on
—— : a &
page. Extent in Slokas, 125. Character, Niagara. New. Complete
A spelling-book.
See No. 429 Oxf.
4730.
4623.
Substance, country-made paper. 143x383 inches. Folia, 3, Lines ;
4 on @ page. Extent in Slokas, 50. Character, Bengali of the eighteentp,
| century. Appearance, fair. Complete.
4.4
aa se.
: i.
; ( 346 ) a
~ A spelling book by Yadavendra. re
r ®
°° The mangalacarana and the object of the work:—
afaaia faraat: uzrasi aaa afanat qe eI | |
a amaatta HRA Was az ay(?) [RATT | ‘q
i 2B, sfa maquataasa, sfaqaaanienuad: 3A, xfa
nS amqaaicanata ; 3B, sfa frame FATHe | is
| It ends thus :-— *
ago fran ata witmag faataa |
sfaa mizaan faa me afafoza |
Re
4731. a
4.605. @
ne
Substance, country-made paper. 16343} inches, Folia, 97 to 100.
Lines, 6 on a page. Character, modern Bengali. Appearance, fresh. i) 0
ig
Words with Talavya 8.
Ends in leaf 97B :—
afa ataayantTeae: |
*
ven Beginning :—
le ay: yan faura wae wifaaa:, ete., etc.
ve
Eve: ©
ei | a
oe Words with Murdhanya sg.
Ends in 98A :—
afa qeaante Az: |
ITT.
emaaraaye: ending in 985,
( 347)
LV. ~
This portion ends in 99B. It is a eollection of
words spelled in two different ways, and agrees, in the
beginning, with Dvi rtipa-kosa, ascribed to Purusottama
Deva (1.0. Catal. No. 1037 and our Catal. 4725).
It ends :—
Set aatfa afar tw West aa |
There is no colopbon.
v.
Then three lines with the colophon :—
sfa mares: SaTH: |
VI.
~, = . 7
Then waraxata by Purusottama Deva, here beginning
with the first consonant ®. The vowels come after the
consonants.
Colophon :—
sfa stgaataatactaa waracata: wate: (in 100B).
VII.
Then the beginning of ate@atfiutaa in two lines and »
a half.
@? AAT WUT |
aaa gawifa feitaa: |
matte HAM aratsfy awaa: ||, ete.
4732.
111. SHATLHS: (2) | Jakara-bhedab (2).
This MS. has been noticed by Rajendra-lala under
No. 915. |
( 348)
- A spelling book, designed to point out what words 7
have the letter uw, and what words ¥, what words have —
the letter a, and what the letter a, and what words have “a
the letter #. By Purusottama, apparently a Bengali, who —
pronounces those letters, just as Bengalis do. ;
Rajendra-lala gives the title of the book as wares,
which is only the name of a chapter. What its name
really is cannot be ascertained, as the first leaf is missing.
Post Colophon Statement :—
staazaqinem fafaas |
WRIT LEC |
4AT32A.
7123. frqweaAa: | Nighantu-samayah.
By Dhananjaya.
Substance, country-made paper. 10x45 inches. Folia, 16. Lines, 10
ona page. Character, Jaina Nagara. Date, 5amvat 1897. Appearance,
fresh. To the end of the second chapter. .
A book of synonyms; the author is a Jaina.
SaLaa 7A? |
aH: fas: |
a antfa ut satfacatenaamtaeg |
waqarafaat aq frareataatata |
qwaata |i
au feauqua wad gra gai |
qr ag ae Sa Wat Wig Sarat: | |
( 349 )
Colophons :—
i
ISA, ef sthudsaanatl fadeaad Tea TTSM (TM) Awa
yaAR: ufeepe: |
Post Colophon :——
aqiq ¢seo Ufa aram afe © ana fafaa cAamTaa
vnaat fafed gr wy | fafed quasars |
Li.
o Weeata-qeqtreqat fetta: fesse: warm |
Post Colophon :— |
waq asco tT) fafa sqm qf o ana az
anaa fafea + + + + (A name blurred
over with ink.) wsara ma. atest ay size
ABTIMAHE |
CHANDAS OR METRE.
oe
9669. Waar: | Sruta-bodhah. 7
By Kalidasa. MW
Substance, country-made paper. 146} inches. Folia, 6. Lines, 3°
ona page. Extent in Slokas,72. Character, Nagara. Appearance, toler.
able. Complete.
~
Py
473A. ey
4451. The Same. a
Substance, country-made paper. 2144 inches. Folia, 4. Lines, cn
on a page. Character, Bengali of the nineteenth century. Appearance, ,
aw
al
fresh. Complete. Ig
4.7 3 5 ‘ ‘ fi
*, f
9194. The Same. m,.
Substance, country-made paper. 12x7 inches. Folia, 2. Lines, 1
‘zm
on a page. Extent in Slokas, 66. Character, Nagara. Appearance, old. — f
ee bh
Complete. es
A well-known work. hp
\
a?
8359. The Same. .
% om Vv.
a
& Substance, country-made paper. 944} inches. Folia, 4. Lines, 8»
ona page. Character, Nagara. Date, Samvat 1899. Appearance, fresh. a
Complete. | i
Colophon :— |
afa stafaatfacad saatarta galas aaTH |
Post Colophon :—
Haq ee |
we ara fea wa ulfmarsat wa feF |
+++4+++4-4+ fafsati faitaa: |
( 351 )
4737
7756. The Same.
Substance, country-made paper. lOx4¥ inches. Folia, 5. Lines, 9
. onapage. Character, Jaina Niagara. Date, Samvat 1896. Appearance,
iresh. Complete.
Colophon :
zfe ostiifsaqeaty (?) anfaerafactea arama
warAaaeatsy waaterharata CE: TyUA (|
Post Colophon :—
daq ese tae fafa araae aaa feet wai
rel azave = fafwa caatea usariy cee
Guay |
4738.
5576. The Same.
Substance, palm-leat. 15x 1} inches. Folia, 5 by counting. Lines, 3
on a page. Character, Udiya of the early nineteenth century. Appear-
ance, fresh. Complete.
4739.
5HOS6A. The Same.
Substance, country-made paper. 17 x34 inches. Folia, 101 to 103.
Lines, 6 on a page. Character, Bengali. Date, Saka 1698. Appearance, .
old and discoloured. Complete. :
In 101A, line 7, we have the following colopbon :—
afa areqatfara earea |
Then begins Kalidasa’s Sruta-bodha.
Colophon :—
afa =o- Stanfagafavasiatfeaerafachaee Ui
WQaqty: AAA: |
Post Colophon Statement :—— a
agitate wis fee feaa cat | ‘7
fafaat ufeat wat State TWAT | i.
We BRATS VECS | bs
‘
-
Pi
*
4.740.
4691. The Same.
Substance, country-made paper. 14x 2} inches. Folia, 3. Lines, 9
Character, Bengali of the nineteenth century, Appearance,
on a page.
discoloured. Cornplete. :
There is one stray leaf in the manuscript.
4741.
9146. The Same.
With the commentary sattatt by Mano-hara Sarmant a
Substance, country-made paper. 12x 6% inches. Folia, 6. Lines, 7
14 on a page. Appearance, tolerable. In tripatha form.
The text is well known and often printed.
For the commentary see L. 1715.
4742.
8358. Waals: | Sruta-bodhah.
DB
Here attributed to Vararuci.
Substance, country-made paper. 104 x4} inches. Folia, 5. Lines, 6
Character, Nagara. Date, Samvat 1793. Appearance, old.
BS
ef
on a page.
Complete.
. 4 |
“ Be
ie
ys
bengeem :— 9
sfa ufeaacafafacfaa ata waa aarata
saatuad aa eataady afcaa4y |
saat
‘
? s
@e
‘ \
a) »
‘ >
‘> >
Se
“i 5.
( 353 )
Post Colophon :—
wad ywoca fafa We afe ofauer fafed Cay
eysats | Bee | |
Beginning :—
SHAT ATT AR RATATAT LAT
fast wa aT Sat Hea aA WAT I
afaqutaras wAIx:, ete., ete.
47438.
1303. ATM AAR Chhandonusasanam.
With Vette.
Both by Hema Chandra Siri.
Substance, country-made paper. 11x52 inches, Folia, 175, Lines,
Son a page. Extent in Slokas, 3,150. Date, Samvat 1910. Complete
in eight chapters.
A comprehensive work on metre.
See W. 1709, and Auf. Cat. Cat. Vol. il)
Lt begins :—
Commentary :—
SUMMIT AR} ae | WRAP Cw
aaag’ Waghry aad ealqueratiears:
WIAA LAS awa Sea HH CYS AYUANT |
Text :—
qd Maat fanaa |
TRMUIANMAt Tae Beaa_*wAaa |
Lt ends :—
aw WT UMM a cal wat 7 IS Rasa
ax at Te WHE atgfurfaaatirarat | ay Waa
45 |
( 354 )
aaafea i sfa fanuaty wapareatfa meme were
(ta) eae | |
Colophon :—
raaesizassarharst «©=©=—- @tageiqueaed
yeaa feqrameat aTATE ATTA: I=
qed acy aaa: aa: eatqureatafa | srahitet
TATRA REE |
Post Colophon :—
aad eto Baw AM < |
4744.
1486. WTAdlas ata | Prakrta-pingalam.
Substance, country-made paper. 10351 inches. Folia, 32. Lines,
10 on a page. Character, Nagara. Date, Samvat 1872. Appearance,
fresh Complete.
Post Colophon Statement :—
Wo | AAT YOR WI aratsa get 2% wZTATALA
fagaAAas 22 UY VATH Soe |
4.745,
1370. TVhe Same.
Substance, country-made paper. 12x 53 inches. Folia, 16. Lines, 9
on a page. Character, modern Deva Nagara. Date, Samvat 1910. Ap-
fresh. The text only to the end of the Mattra-vrtta.
pearance,
Printed with a commentary in Bibl. Ind. by Candra-
mohana Ghosh.
Post Colophon Statement :—
sfldaq (ere Alfa srateara aaa wqut uf
qTat BATH | BA ATA |
LAT AA! |
( 355)
4746.
793. DradasaTy Prakrta-pingalam
Substance, cOuntry-made paper. 15x Shinches., Folia, 30. Lines, 5
ona page. ISxtent in Slokas, 720. Character, Bengali. Appearance, old.
Complete.
The last page is completely effaced.
Often printed with many commentaries.
4747.
792. fasFezlant 1 Pingala-tika.
By Vamanacarya Sarva-bhauma. o
For the rnanuscript see L. 1608.
Rajendralala is wrong in saying that it is a comment-
ary on the aphorisms of Pingala on the Sanskrit metres.
It is really a commentary on the Prakrta-piigala. The
commentator, at the last verse, says that Pifgala’s work
on the Prakrta metres is a succint one, and refers to his
own work Prakrta-candrika for details on the subject.
‘The first pratika quoted is #} fafa@fa, the second ABfa |
4748.
3443. TOF ARS SAA or WMATA |
Pingala-chhandah-sittram or Prakria-pingalam.
With the commentary entitled Vidvan-mano-rama by
Vidyananda Misra of Kamarupa.
Substance, country-made paper. 13423 inches. Folia, 39. In
tripatha form. Character, Bengali. Date, Saka 1732. Appearance, fresh.
Complete.
( 356 )
The commentary begins :—
stata AA: |i
arefag azifazall HAAR EEA VET amt |
gafafa ze Wt TTT SratswaT HG ATA
sitfagaafaga aAeufadiraat | |
faan faxaocgetat faeAaieat |
ee.aq wrenfuaaact faye ayes atta) aT fafaefe
Lt ends thus :— je
aaa _-aui aura -AM ATH - FARTLATM UT HY aati
gyaisaattefa |
Colophon :—
afa sfaraeufaata-afaastfaaiae fama
fusactarat aaedatesee: SAH! |
Post Colophon :—
WH VORR STAMTTATS |
4749.
5741. fawararcfaatiaatt | Pingala-sara-vikasnt.
By Ravi Misra.
With the teat.
Substance, country-made paper. 14x7{ inches. Folia, 43. In
tripatha form. Character, Nagara of the nineteenth century. Appear:
ance, fresh. Complete.
For the commentary see I.O. Catal. No. 1110.
The present MS. gives the name of the author's
grandfather as CandeSa and not Dhandesa as in the
extract of the I.0. Catalogue.
£750.
5840. fasaTeetu: | Pingalartha-pradipah.
A commentary on the Prakrta-pingala, by Laksminatha, son
of Raya Bhatta, son of Narayana Bhatta, son of Rama-
candra Bhatta.
Weth the teat.
Substance, country-made paper, 94 ~e 4h inches, Folia, 5D. Lines, 9,
l0 ona page. Character, Nagara of the eighteenth century, Appearance,
old and discoloured. Incomplete at the ena.
The commentary begins :—
muita tte faasaryqa4ayyg-
wafa (?) STRAT AQAA TT AAA |
aaa gaara fae figera aaat-
ned HAUS Vaeqaiad fAhas Ay! |
WAISTLA IT WACHASAHATAATT |
aaa faagqenad F Fe} arta awat Fe 4
mgiTiaqayatfesy faugrifaatafea .
MITATARIH ALT Bet wayiyareatfe |
Bs wainiaifes awa faqgearfayaiattza
f SRW AU! RUT gue whagfa: Fara I
fafeacat ameafa ewmiaea aig FE |
WISEMAN Te fat fax Bata |
ug Baas alafrruqga wate! Bat 7
TAAL Ta Ty a fagqen freraqatsafaz |
aust aug: wannfaqrarantfratat
aaqaTseagat cafe xfac fagarigetaa |
slesugatat aalats: aqaaagay |
gaffe fugue aga crarqezata |
a
{ 858 )}
aaa qaqa: wat: ai
casta ZtaaeMmeaa: |
eat qaraeaa aterm
aaqata Aqafatt (ar )aatg |
aq wan afag aifa caa reat |
aq fayauetaa a[t]waatateat az |
safe aaa U ee: ae faae |
ama: fagaetd aatiataa stfaa wea |
nana umacfaafast ecre|+ + + frgemargeco
adm aranracta .
atfafay AU aTHtaTe Wut, etc., ete.
The commentary was composed in 1600 and quoted
in Vrtta-ratnakaradarsa.
See Aufrecht Cat. Cat., Vol. I.
4751.
8708. fasanyanra: | Pingala-prakasa.
By Vamsidhara, son of Krsna.
Substance, country paper. 12x6 inches. Folia, 36. Lines, 15 on
a page. In tripatha form, Character, Nagara. Date, Samvat 1877.
Fresh. Incomplete.
In leaf 36 the colophon runs thus :—-
fa fasauata WaT cRLU BATH |
be,
( 359)
4751A.
10099. @sttaat | Sanjivani.
Being a commentary on Pingala-chhanda.
By Halayudha.
Substance, country-made paper. 9}x 44 inches. Folis, 66. Lines,
- l0ona page. Character, Nagara of the nineteenth century. Appearance,
old. Complete.
Last Colophon :—
xfa sttaq warguaaa ealadt Aweufafwarat
atiattarnt Seatswyrm: AYMATANT |
Post Colophon :—
WaT earat fara varffas aeza: |
Ta TUOE Hota: wa faata: qaurhs frat t
aqagateeattuy xfe wayguara: aa-
are TaPalg a fatigue saree a(S) |
aaaattcay ufafifycaardisgent wat
aia aaa sata faaa we atfisre[:] 1
Aa ACHAy VITA? WAT TTA! |
qaat Ahrens oeaaraataed |
An edition of the text, with Halayudha’s commen-
tary, has been published in the Bibliotheca Indica, by
Visva-natha Sastrin (1871-4).
®
A752.
5719. sua ltaany | Vertta-mauktikam.
By Candra-sekhara, son of Laksmi-natha Bhatta.
Substance, country-made paper. 94 x4} inches. Folia, 52+204.
Lines, 8 on a page. Extent in slokas, 6,000. Character, Nagara of the
early nineteenth century. Appearance, discoloured. Complete,
( 360)
Beginning :—
Snmya AA: | | A RaNTT aar |
agra uid fara faafa aq aa foearana
td aa aeTaawHarae aHzaasd wa |
aeaifeaqefa uifa a zat afma awaalad
afta PAUL als PATA TA Te Fire A |
aafga a zaiacafaagatataaa
afaveesied seta afedq athe faa |
aqyratary a tfhocaemea area faat
astafuatinifas rare mya Fe |
staagirauge faqaat wersaz |
asgnaaaga uate |
stag fagaatitnes: arash |
. foeuareleuaaa wraeafay: |
aaa: oTad afagata ata: ata |
aaratars waa aifia cut fara |
A aatfasATarsealates BAIA YI |
Tasargqazaa: a fe atm: fagat safa |
Spa: aqage: wlereat at faan fareqar |
a yeaa anat TILA: AE! THAT |
A Sanskrit treatise on Prakrta metres being based on
the Prakrta-chandah sittra of Pingala. As a matter of
fact, it is only a metrical paraphrase of Pingala’s rules,
in Sanskrit. The examples in illustration of the rules are
It is called a Vartika to Pingala’s work.
also in Sanskrit.
1.0. Catal. 1114 describes only the first part of the
work. Here in the present manuscript we have both the
parts, each separately paged. Part I is complete in 52
leaves and Part II in 204 leaves. |
( 361)
Date of the composition of the first part :—
qwMaygmaanasafaa, sx (.¢ey) saatiaa ataca |
ATS AAD UBM WHAT | BRE |
Colophon to the first part :—
faa as 1a fo - eres UAT aaa aR SAT
Wz RUM WIL AT SAYl aA TAS aA A-HMVase_- sl aT aT
faa sifugaathas saalfeh starsreare: gaa:
ufs<pe: | WATHATS at fran uerwae:
Part IT begins thus :—
frst SAaIP AAAI H AMARA
yea BUlewiRcafauarneygyat |
aerat MStat faceaqetara cyar-
SEAT ETT: aaa Ha: ahifanea |
3 aR: foraTa |
ATATS AT DAHT ata: waisarfiratthe |
ay weal aweifa aaa eT |
It ends thus :—
Hara TRE Wee vate |
way ais afed ceefaaquag |
202A, Saat: wasdbarfa warag varfaaa |
alfa ufannia afat sualtas |
maalqar| ae aecafees erfsuta il RR
: 202B, srastwina afecat cualfaasgtn |
AACS Ua yl aHRaA: AITATATAT I
aaiaagugaey fa at afiedwxza-
wag afsaaRar xfs weraattiyfa |
46
= m
( 362 )
aaa GGA sqada aweat afex
ward acsudatiaatara aT qet faraa |
Date of the composition of the work :—
=V.S. 1676.
=1620 A.D.
cagfaraaauifaat ((¢od) FHA
faacaafaastaa aH utmaTe |
afataaaata: Stasat fate aa(a)
afacarayed aifaa SauSTe I
ge: Wieauatafe atarasrmfa faak |
MAPA A AHAWATIET Fz |
ata fed qaawe fanatoug
Stasiuradt faa agaay: |
facpcay ufa aaqaaa ate
umiaaa a fe waavaase |
saowathiafad waits yfea ware |
AMHR Aas aaT ART |
Colophon :—
raeg fa —aar Sa free UCT
free STM ARM ATLA ALAT TAS aA RATE
Teargiacaa cuatfan fryers aaa feats
afeaee
aatnaa afin feat: axe: |
SAMA TA | BTL |
aainfae Stawatfaat ata fogaarhiad |
From the concluding verses, it appears that the
author died, leaving the work incomplete and it was his
father who completed and published the work.
( 363)
47953.
9662. DaACTATHRL: | J rita-ratnakarah.
By Kedara Bhatta.
Substance, country-made paper. 6x 144 inches. Folia, 6. Lines,
llona page. Ixtent in Slokas, 171. Character, Niagara. Appearance,
old. Complete.
4754,
9661. The Same.
Substance, country-made paper. 123x353 inches. Folia, 13. Lines, 4-
on a page. Extent in Slokas, 130. Character, Nagara. Appsarance,
tolerable. Complete.
7776. The Same.
Substance, country-made paper. 10x65 inches. Folia, 13. Lines, 7
ona page. Character, modern Jaina Nagara. Appearance, fresh. Com-
plete.
Colophon :— |
sfa wuratatra sefa Ferusfachaa veto
SHIR: | aaatat warata ae: 1
Well known and often printed. !
4756.
2167. The Same.
Substance, country-made yellow paper. 9}x4} inches. Folia, 7.
Lines, 10 on a page. Character, Nagara of the nineteenth century. Ap--
pearance, fresh. Complete.
4.757.
10304. A commentary on the same, entitled Sugama-vrtti.
By Samaya Sundara.
Substance, country-made paper. 10}x4 inches. Folia, 14, of which:
the 10th, 12th and 13th are missing. ITLines, 20 on a page. Extent in.
Slokas, 1,260. Character, Nagara. Date, Samvat 1779. Appearance, old.
( 364 )
Colophon :— 7:
sfa alana eefa saaagecongae
faarai SATATRETS ATATA WStOAa: | 9
Ziad Hae: Ga wurarnesprefa + + 4+ 4 4
BESTA: |
Post Colophon :—
Had LOHIE uTauz aifa faa aati TAU
afta umeatifaa foarte |
The text by Kedara Bhatta is well known.
The commentary begins :—
ANAM AA: |
qrgata faa amt afm: HAaAReE: |
SUCAAE Brat BRAM FRA Be |
Zant aaa: ata Beaty Tear: |
ye aatfaqual area aw farted |
aint) wat at feataatsaq | fasta waa, etc., etc.
tt ends:— '
staat sta afm: aaazqean: |
aera yaa WIAA |e I
dafa fatuqutafucaata (.¢s2 egy Prameafeae F |
aateataane afmarnacntaaw4rs |} z |
stad wtalt| we aifaragars: |
aut aaaaatan fara: waatsuad | 2 |
ate: qaaqet Tal sha WATE GUAT |
iframe feoat aserfycisisheaar || 8 |
a atfa wat ge: cute a fafaufa |
aata wad farai afoarat ues ay
( 365 )
4758.
3109. DACTATRITZTAT | Vrita-ratnakara-tika.
by Narayana Bhatta.
Substance, country-made paper. 11x33 inches. Folia, 24. Lines, 21
ona page. Ixtent in Slokas, 1,600 as given at thejend of the MS. Date,
Saka 1752. Appearance, discoloured. Complete.
Date of the composition of the work :—
aifa fama feaqed, ({ oR) afaaq fear aT PAR uF l
aagtiqand faagat cawRIeTQAEeT |
Samvat 1602 =
Colophon :—
afa sttafeeagearfarsiguaarefragqanray-.
wgfaxtaarat «= TMRaTHCS HTT | RETA: WE I
VATA BA START |
Post Colophon :—
AMAT eo |
uAaMTa HIS (1752) qs ara q faa d |
aaitnar fax ararg qawat Jet ye
For a description of the commentary see I.O. Catal.
No, 1094 and Oxf. 1555. The commentary was com-
) posed in 1545 A.D.
The genealogy of the author’s family :—
(1) Naganatha.
(2) Angadeva.
(3) Govinda.
(4) RameSsvara.
(5) Narayana.
le ees a Bk, ie
The present MS. reads the first name distinctly as.
Naganatha and not NagapaSa as in the J.O. MS. and not
Naganabha as in the Oxf. MS.
—
—_—
( 366 )
4759.
5809. DATATHTCIAT GUTMT |
Vrita-ratnakara-tika entitled Sudha.
By Cinta-manit Darvajia.
Weth the teat.
9» 6} inches. Bound in book form.
Substance, country-made paper.
900. Character,
27, Lines, 22 on a page. I¢xtent in Slokas,
Folia
>
Appearance, soiled. Complete.
Nagara. Date, Samvat 1805.
The commentary was written in Saka 1559=1637 A.D.
Beginning :—
stax ums fraqeeaa: |
aanifazfeauieug |
farexqu lamang
qaifa ate eeaTAaATRA |
Sqqaeatea faanieag
mifaataateatanatgety |
fanrata: sAKa UfMaE sa-
carace faata eas Garena |
aa araq avauagtad Wade -aaaareRqer aaa aries fea
ayataasentat DIA AeA ataat fatusfuerarerafaa-
staat fraadagaTn THCOMIAS AFAR TataaAtreeaaa-
aaqeraae sfaatata |
quaniafazy, etc., etc.
Lt ends :—-
afa sifaccanagqgequum fen fattaqagfanata-
= «
cautactaarat wataHceclarat qUreqrat yatera-
WTA: AB |
( 367)
qe Bea SRA fsa
, at <td fafauafauenera: (H:) (?) |
aataaad fafeuanrafaaeea:
striaanwefafafax afwamas: |
| sig mafiiggewy Ste:
usa faamaue: Hafeuats: |
wats feaue raaewaisiag
nifaeeataestaaat vata: |
awd BAH etyatata qrem-facaa:
aifeatmauiant yutafa: fesraaar afa: |
WtHAT ecarasaca foes s faa far
saifaatzetratatufechea yencfaanrafa: 1}
Suaquiegqua wee fafa
eeafuafateariaat BUA: |
Greaata: frsfeataaia qeu-
taTacy fazta Fas Burana |
ACAMMLAAT WIA we | aawtefearaewai
aagriaRaaa: WIAs + + + maar i (2)
Colophon :— |
efa faz + + aqua fea fateq-aqeas- |
faaiatafacivat sutataxctar eurmtat aatta-
ANA |
Post Colophon :—
eaq iseu wreafa 3 cat fatufeae Sar aR: |
( 368)
4760.
10900. TACATATA SG: | Vrita-ratnakara-setuh.
Vrtta-ratnakara-seluh (a commentary on Vrtta-ratnakara).
By Hari Bhaskara.
With the teat.
Substance, country-made paper. 126 inches. Folia, 20, In tri :
patha form. Character, Niagara of the nineteenth century. Appearance,
fresh. Complete.
Written in A.D. 1876 at Benares.
Colophon :—
sfa stazfastaa( faa )afaaataara-sataerarfarg-
aqefcurncfactaat TULalHcsg: BATH! |
See L. 712, W.. p- 225, Oxf. 1OBA.
AT76OA. ’
9011. Whe Same.
Substance, country paper. 104 inches. Folia, 41. Lines, 10 on a
page. Extent in Slokas, 800. Character, Nagara. Date, Samvat 1881.
Fresh.
Complete in 41 leaves, of which the first is missing.
Dated Samvat 1881.
See L. 712.
. 4761.
10338. The Same.
(Commentary only.)
. Substance, country-made paper. 944} inches. Folia, 37. Lines, 8,
9 on a page. Extent in Slokas, 576. Character, Nagara. Date, Samvat
1806. Appearance, fresh. Complete.
The time of the composition of the commentary :—
afaafeesataa ae (1732) az gamaaa ayaa |
ana: ufaatte watt qty quaggise |
{ 369 )
Colophon :— ' |
fa o=StaAq = aNUTaqaeatfuetqafaearaar
atazirariang agq-uerhrata-eharectaehad «= aca
Ht Sa: warfeame| |
The genealogy is given as follows :—
36B, aifaaracaeinaataretaett qufa(<) fret |
UMAAMURAT a A SS )ewa Maat whey |e
aeqraufaaataaaa ofaat fafutcae quid:
atattafanataantte: ath asa fisrrfaae 1 2 |
qMISKHAHt A: Raq RAACazAS/?)
aaa ATU SMTA ATH Alaa WE: |
RITA art aaTat wanferacrefaaganey
sarmrarfaag: qtaaaca: qelarfacrata | 2 |
aqwdat aa Taare VATUTaAe
aq urqcweaat fachaa: ae garai mai |
AAA aces RTA ata faewa- :
gusanetfacfaaget Sat cfa: Daa i a |
Post Colophon :—
aq wSekd WI rose aragag ufwat cfaatae
fafeafas uma statsgs caawaal! awe
UMA |
Already noticed. :
A762. |
9395. he Same with the text.
Substance, country-made paper. 10x52 inches. Yolia, 25. Lines,
14 on a page. Tripatha form. Character, Nagara. Appearance, old.
Complete.
47
( 370 )
The text by Kedara Bhatta is well known, and has
been printed several times in Caleutta. For the com-
mentary see L., Vol. II, p. 126, No. 712.
Leaves from 22 to 25 seems to have been restored.
4763.
« ¥
5841. BDATATHUSH | Vrlia-ratnakaradarsah.
A commentary on Kedara’s Vrtta-ratnakara by Divakara
Bhatta, son of Mahadeva Bhatta and grandson of
Bharadvaja Balakrsna Bhatta. )
Substance, country-made paper. 105 inches. Folia, 2 to 69 with
the 16th missing. Lines, 13 on a page. Character, Nagara of the early
nineteenth century. Appearance, discoloured. Incomplete both ends.
The first and the last colophons in the incomplete
manuscript are :—
ISA, xfa wmlagimeaaacizaraatestacad TACHI
zuyfeuraregia: GAA? |
46A, HIcataRa ataatang: AANA AUT
careraaaquatta @ awieatsuaarfaa |
aqam fearnta ifaa StaeatarHat-
aq amfauaitaaest SATA wa: wea |
See [.0. Catal. No. 1095.
The date of the composition of the commentary 1s
given in the following verse in the I.0. Catalogue :—
yan fret far ct yaa aan atfa faqeua |
ata aaa feaa quw wien sa ufea: wat I
The date is Samvat 1740=1684 A.D.
4764.
5858. BATATHCZ AT UrTaTeeifua4r |
Bhavartha-dipiha, a commentary on Vrttaratnakara.
By Janardana.
Substance, country-inade paper. 11x55 inches. Folia, 2 to 43.
The first leaf is missing. Lines, 9 on a page. Extent in Slokas, 1,000,
Character, Nagara of the nineteenth century. Appearance, old.
Tt ends thus :
satan nyes afesiaren: |
qaRIE HTT WA + + wrarddtfuara |
Colophon :
afa =sareafagufachearat «9 araietfrarfrarat
TacaqiHLetaH al Geers fag aa TSYTa! |
Sant ST ravage tfaarrat TSACATHCYSTAT |
47765.
5O76. BelTAAT | Chando-manrjare.
Substance, country-made paper. 1633 inches. Folia, 21. Lines.
fonapage. Character, Bengali. Date, Saka 1718. Appearance, fresh.
Complete.
Colophon :—
~ e
afa Sata TayRet ata ws WaT! |
afa niaracasngieda cfaat BetaRel FATT |
Post Colophon Statement :—
quay Sq mtu We nawag 3 |
atfeaty zara afeary feat |
fafead aat 2q sqzaAaTfaat |
ATA WISI! US WAT Stee AAMWAIT |
( 372 )
anpmema | WHT 2 9°5 atThee ¢ Baa | Stet
Pec ayaa qa fafaqa | FTTSTHCTTH aya
waa | aaa fafaat aay, ctc., etc. “
4766.
10835. The Same.
Substance, country-made paper. 16™24 inches. Folia, 24, Lines, 5
on a page. Character, Bengali. Date, Saka 1576. Appearance, dis-
coloured. The 7th leaf is missing. ;
Last Colophon : — 3
sfa0 Hfaxrmettangiciafaanfacfaar = eta
AATAT | ;
Post Colophon :- - | a
Saat yet | ATA | AATHSTA Ty ATE
sam ufaae atata fags at + fagramcaet
Use RE AATAT |) WHIT wos || AA Yoke
ara | xta weetfane: |
4767.
10806. The Same. : el
Substance, country-made paper. 16x33 inches. Folia, 19, Lines, 6
on &@ page, Character, Bengali. Date, Saka 1642. Appearance, dis-
coloured. Complete.
Colophon :-— |
fa oafaxts)| Sigiziahranfacfaat «= etal
@ATAT | |
Post Colophon :—
quae) Wate 2¢8r Gay yoafera aarfufefa
aA AT core (perhaps 1126) slawafwtawea'
qantacaaeyg | Mthteacaqem we wal.
srtaratarat sata, ete, a
|
Ve ~~ :. =. 2. - _—-- a
a
es SS ——_. — ——- —“.— —— -
{f S7sa 7
sTraiafaqiugqara aware fad afa:
ade fafad Ha: AUNT Bg ATA |
Tita Rqgaa arfe aA WA ayeaat
AaaTNaI faa Axfaat araveafasqraat |
quaifaa Ta aaa faretsf Ea |
fafa fasnqrata slmanafmat at 1
47638.
+702. The Same.
Substance, country-made paper. 163x4 inches. Folia, 23, Lines, 6
on A page. Character, Bengali ot the early nineteenth century. Appear-
ance, fresh. Complete.
A769.
4613. The Same.
Substance, country-made paper. 1483 inches. Folia, 32. Lines,
bona page. Character. Bengali. Date, Saka 1744. Appearance, fresh,
Complete.
Post Colophon :
WIR Ferfsqun(x)fawt ( VOBs ) BRASY FS
stars szinnaa( fa fait aay wa aan |
gelaey ufanant ciara
sayqasisayVayal favqeia Aa |
4770.
3739. Phe Same.
Substance, country-made paper. 15x 3% inches. Folia, 31. Lines, 5 ©
on a page. Character, Bengali. Date, Saka 1686. Appearance, fresh
Complete.
Colophon :—
ce . A
afa Bata Ryat Tayiest ala TS VIF |
Post Colophon :—
AAAS Ty! |
i
WAT Ese sae fafufedg seA RWI! |
( 374 )
Lt ends :—
Bases wlat ast wetsa Rifas |
yeas Waal HAT laa fe a I
an: utsufa: aqsaausaa ayes:
aararfe azar afea nia afaatfaze |
Hart: waa feauwaneey awieaat
UF aaRA: Bat Fafaat wap-at AAT
Often noticed and often printed.
47°71.
407. The Same.
’ Substance, country-made paper. 133% 2} inches. Folia, 23. Lines,
5 on a page. Character. Bengali. Appearance, old. Date, Sake Ba
Complete,
Post Colophon :—-
araizeantaufafere quae cist earn |
Win wefqaaemaraeantataat faa
qe aq cat Wa a faut qatsqat WEST |
at famfaat a ueafad Swat sarge:
anifag faa ufaaaa arafeara saa |
AUTTIA.
410. TVhe Same.
Substance, country-made paper. 94 x6 inches. Folia, 24. Lines, 26
ona page. Extent in slokas, 750. Character, Nagara.
A MS. stiched on the left hand side and written
breadthwise contains two MSS. (1) Chando-mafijari by
Ganga-dasa Kavi coming to anendin15A. (2) Anekartha-
MahjarI by Mahaksapanaka of KasSmira ending in 23B.-
The latter work is noticed in L. 1404.
= eae
4772.
2406. alawtt | Chando-manjart (Vedie).
Substance, country-made paper. 7}x3} inches. Folia, 2. Lines, 12
on a page. Extent in Slokas, 50. Character, Niagara of the eighteenth
century. Appearance, discoloured. Complete.
For the work see L. 877. It is a short treatise on
seven Vedic Metres, dealing in detail with Atijagati-
chandah watt, afar, wet, waret, vfa, afaufa, afa, sata,
miata, faafa, afaata, afuafa vata |
LA, eelaset aaa cea we mrad css garecatfs; LA,
fedtagqfara : 1B, ezatanaen: 1B: aqu weat; 2A, wqa ute;
2A, wé fasa; 2A, ana aTal—ezfa saatseet HET | aratta
aranetfa ; 2A, afasmat |
It is a Vedie work on prosody entirely different from
the work by Ganga-dasa.
4773.
BHO0 &. ASAT AITATe |
Chando-manjari-vyakhya-sarah.
Substance, country-made paper. I4 x 34 inches. Folia, 8. Lines, 10
on a page. Extent in Slokas, £00. Character, Bengali of, the nineteenth
century. Appearance, discoloured. Complete.
It begins thus :—
ee aat TaWTg |
aaiuanet tai vfaaeaaatate |
silaaaeamt are US waratTaal |
qmaatateat(?) weveetwaraaigyrae |
qwiazaaian Bat faa areat cute |
qc Betsawaqagd frat walaal AT
gfantatta Gay Zafaarte |
( 376 )
Lt ends thus :—
qa WPZTARITAT(?) Lagasat at aTayar
wae geuatataat fava CUE PMCE OR a ae
aaASt Ha faat wat wa festa wah: |
Colophon :—
afa wretHatigraiay: | sat atfaera |
Post Colophon :—
anu ztaratafaaarat, etc., ete.
4.774.
3087. GFeQquTaAe: | Chandah-sudhakarah.
With the commentary entitled Jyotsna by Krsna Pandita.
Substance, country-made paper.~ 12} x 6} inches. Folia, 30.: Lines,
15 on a page, Character, Nagara in the eighteenth century hand writing.
Appearance, discoloured. Incomplete at the end.
The colophon we get is in leaf 13A :—
ata sraanufasamata ee: FurHRcaerat steqra-
ATT RAT |
The colophon does not say who the text is by.
Aufrecht gives the author’s name as Krsnarama.
The MS. is incomplete both ends.
The text begins thus from the middle :—
srdaitats yaar farat atay ay daisag |
area: WAMAAT THAT TRA ALA ie |
aaa afe 7 aa aaa wafer Taha |
a ugiset as TYH WA q wat aT | 2 |
i i ee
f gee og
The commentary begins :—
aa atfaaweae wa faeumee aaalfanez-
qaiat asurfasaraet afwenfaq fafweates
aruysfa aga faaurfa a-aatfadta :
4775.
dO18. BeSITATRT: | Chando-ratnakarah.
by Ramesvara, son of Vasudeva Sarvabhauma.
Substance, country-made paper. i442} inches. Folia, 17. Lines,
4 ona page. Extent in Slokas, 280. Character, Bengali. Date, Saka
1622, Appearance, discoloured. Complete.
An elementary treatise on metres in four chapters.
Last Colophon :—
fa HETARtra Starezaala-vgrreaas-
slatacataeatatactad wel cat wiewaifraqa
ATH WAULad |
Post Colophon :—
ataqiscaaita wit faaueeae |
gate waa aati aaaataa wnat |
Beginning :—
RAAT AHLMHAA Bist FT yaa
aati qt vafa afar waar afeearfi |
xe aa aq wean ufmafeafar
Being Reafacty ayaa aaa |
get wera wat SheraeqeeHMe |
RACHEL AWA DY yaaa |
agate sta araqere faandfase |
fasaaae FR uletae fans xfa ways
48
Colophon runs thus :—
sfa stasis ttre za-araia-agrarer-
-_
aa-sivaasameafafarfha getrarmt aatd aa
faata <aa |
The colophons of the first and the second ratnas are
not found.
It ends :—
Pad ATATHTaAT vifafasetea | sifesararageret-
mwa gucifaaaatet wraKzteta AazaTst FTAA |
Authorities quoted :—
1A, waata; 2A, fa ata, sfa ufe:; 2B, sfa faxa; 2B,
tifgat; 3B, armaras, tifasvatt; 4B, efa agtacarar, wet-
wala, ecinifae, waza; 5A, eataRat; 11B, xarferafa
rfa araeaucia, sfa HAUT |
4776.
9672. ZATATAT | Vrtta-vratnavalt.
By Cirafijiva Bhattacarya, the son of Raghavendra
Bhattacarya Satavadana.
Substance, country-made paper. 135% inches. Folia, 3. Lines, 18
ona page. Extent in Slokas, 180. Character, Nagara. Appearance, old.
Complete.
This is a treatise on versification, written under the
patronage of Yasavanta Simha, the Naéb Dewan of
Dacca, who is often addressed here with high sounding
epithets. The verse 72, for instance, giving the rule of
the Sardila-vikridita metre, runs thus, panegyrizing his
patron :—
Rica fwatfcvattaaffane wat
ie Mawaatss faacratraaaraMs |
( 379 )
aa QHSAT TOTRATAMaRSy ats TR
fasiat cfataateagfed wreafasttsd 1 oz 1
For the opening and closing verses see Hpr. Vol. III,
No. 280, p. 183-184.
47777.
10084. sutaaqay | Vyrita-vivecanam.
By son of Vilasa, the son of Sri Rama.
Substance, country-made paper. l0ix43 inches. Folia, 7. Lines, 7
ona page. extent in Slokas, 90. Character, modern Nagara. Appear-
ance, fresh. Complete.
The mangalacarana and the object of the work :—
nuufaafuag afea fafea-guife-gefaatad: |
yenfeqH aw Pat weufe cafssaa a |
The author’s father and grand-father, and the date of
the composition, and extent in Slokas of the work :—
7 stiafasawe satfafaeta faaranarfamawaae |
Stet: HaaATy Arat dag fara TTA | we I
qustantatafadt (1817) eweyt Wa fas cafeaaats |
, Hal aa dame: (51) quate: waraaqcars Fala Il Vs |
Colophon :—
fa Slantatasimsfanareagaetad cafsaaTy
(2) | Composed in Samvat 1817.
Post Colophon :— ;
GAC CRE BINS | St gaya: aq Wa ¢
Wat i St are Wasa Ag eauyatad zu |
efisiqgta fafad + + aat aad aq |
( 380 )
4778, 4779.
10085. amaqaraet | Vrita-muktaval.
By Hari Sankara (Gauda vamsodbhava).
Substance, country-made paper. 10} 4} inches. Folia, 5. Lines, §
ona page. Character, modern Négara. Appearance, fresh. Incomplete.
Beginning :-—
aM WI AA: |
ay feats i (7)
fna-am fad 4% afad faaaifome |
fate saute a arardiat Hufe7a | 2 |
AACA TT Beat aT HTT Uta faeae RI
erat way ztada aT || ATs a fraaael aq ATR |
4730.
9267. area frag ea: | ala-siksopadesah,
By Siddhesvara Kavi. |
Substance, country-made paper. 7x3 inches, [olia, 8. Lines, D
on a page. Extent in Slokas, 50. Character, Nagara. Date, Samvat
1920. Appearance, tolerable, Complete.
The last page contains names of metres. So the
work has come here. It is really a Sanskrit reader.
It begins thus :—
STMT AA |
Meat Anal watlzcat eyaqatTs: |
VRPARTAATALIATIG ILA AACA 2 | ,
Saat Tat faaanaaHncaaagsd |
Ee asnamets waraqMeSyak: || 2 I
minsperat ufad Swe Feat NIA ASSAM: |
aqarufaat afafe aa aT sa haved HRI
.
[
a
5
————
End — ~ SS Le
avai faa fanfaanul faaagyvaq quer |
frat wat aquefaat seam aagqagai |
Colophon :—
afa stifesaefeefaat araferataea: |
att fe + + + famaad wiafafuas: + 44 atiie-
amare taneyet WAT LEReo Alo He Yo To GF}
4781.
S ,
SOLD. FACGAUA | Vrita-darpanam.
By Bhisma Misra.
Substance, country-made paper. 9}xXx4} inches, Folia, 4. Lines, 16-
Ona page. Character, Nagara of the nineteenth century.
Appearance,
old and discoloured.
A treatise on versification in two chapters, the first
dealing with the Matra-vrttas and the second with
Varna-vrttas. The present manuscript contains the first
chapter only.
for the beginning and the end of the work see
L. 2028.
Colophon :—
afa at(f)vtafasaa cued arsieafietd waa-
NATE: |
4782.
3757, qTAafasracianr | Prakrta-pingala-tika.
Substance, country-made paper. 144 x3 inches. Folia, 5. Lines, 1?
Cnapage. Extent in dlokas, 280. Character, Bengali of the seventeenth
century. Appearance, ciscoloured. A fragment.
It begins :—
HY AMAA |
AACA fA! He AAAS AS Karle |
e
a a
—s --
( 382 )
1% wat wa Fea Gagnaauagia =fe way aT
Lageuny atufaat faai awa aa ywraa ur waq vata He
fagaai:| urarar weiat yeast aifa amafaaa aafas
araifa| aqaracemanas Riga wHfasatfa wa aq AAT
wefaagqaa | ae sae sfa cara wae: weHATMITE WRTA
ateaunafersatfa qa aay: RAT HUI vata AaRANA F
qe mat WMATA || AATI I 11 | aaa Wat Naa ZT WEST yaaa
VIRIZILIS1AS! BA A Way waryFata: Haat vata Tawat-
201g! | aa warren woes seuigisafus: axatts yuawat
ae water |
It ends :— . hs
qSfqTaacgee AAT aqraiuaa va sayfa
ad faaatfa |) aTeatmpere |
After this there is a line in a later and still smaller
hand. The fragment contains Matra-nasta, V arnoddista,
Varna-meru, Varna-pataka, Matra-meru and Matra-pataka.
4733.
10086. Weta o BVUETcacia |
Prastara-pattana or Chhandah-prastara-saram.
By Krsnadeva.
Substance, country-made paper. 9}x4} inches. Folia, 15. Lines, 6
on a page. Character, modern Nagara. Appearance, fresh. Incomplete
at the end.
Every leaf is marked with the letters yet 44.
A well-known work on metres.
Beginning :— .
TMM IUIA AA: |
aT TUM ata We wT ARATE |
ere: yearact: HMMS aa ews |
fe
Substance, country-made paper. 133x6 inches.
on a page. Extent in Slokas, 450. Character. Nagara.
tolerable. Remarkably correct. Complete.
Pingala-siittra and composed in Samvat 1879. It has two
chapters called Prasada. Composed in aggamsafa roe
Gad |
j =) »*>
} IoD }
Wa OY TSH Erctfawcsifay |
Sarde Hata: athe Kaas sai j
The object and the scope of the work -—
fayeatqacmt ecamte arfa crsreaat tea |
AIT STAMITTS Haale gadta Fane
aatet UWMICAAUATS |
4784,
9690. The Same.
Foha, 5. Lines, 18
Appearance,
This is a short treatise on versification, based on
Beginning :-—
Aa TMT Atay Rag agar |
KqyeTcacfa: RUST VF |e |
Wa Tay ISy Eaifawcsifay |
ware Hata watsfe _atay zat | 2 |
fagetqaemt acalte arfy asaceat cama |
ATTN ASTAAITIS Hadley yadta faarfa 3 |
AAS VMTRLAAUATS |
waaand: ATS YPRyTs HTT |
eeatstantiee vert smaaana | 8 |
AaAsaAAacteARA GANcAare—
Tent VIA wae fe ata |
URTARATAM SAS RATA ILY AEM |
( 384)
yeut yaaa wiaatsaed Tehaegq | ws
qaq AAAAHAT qngeaicaAama (7) 1 € I
fa eT: |
Lind :— .
qifemiraarcgaanta: afaq frutaaet-
ZAI SALIAAANTATAA Far qt |
ae: sara afaoafaat a aoeaeat-
wae fan Taatfaafad wtad qe aA |
aqgannata uifaa aatstaa
faafafa fanara caataifagd |
rfafafaaqua Boaaata-
aafa gaara wad ATT |
The last colophon runs :—
sf tatareafawaqz—siaatgarcta eager
suifemagrigatantenmzafactaa yearns wfagt-
gfas-afmatgat ata faata: uratet sitfa a We
Oa AATH |
Ay Va AARMATNAT |
47805.
10340. HUH eA: | Chhandah-kaustuvah.
By Radha Damodara.
With the commentary by Vidyabhusana, the author's pupil.
11x5 inches. Folia, 32. In tri-
Substance, country-made paper.
Appearance, fresh, Complete.
patha form, Character, mocern Nagara.
An elaborate treatise on versification, with illustra-
tions in praise of Krsna.
For the work see L. No. 2570.
The commentary begins :—
afaaaaaiaet LTUTISTAISET FRAT |
faauifa ae aoa eemtauad faaarg |
Eind :—
Srraiztatetirent frargamarar |
ee ate vrata aaa BTA ||
Last Colophon :— | |
zfa faaremfachea steel ara
faqea) aadttoa: sare: |
Post Colophon :—
fafad aaa aaaAalaraa |
4.786.
9300. <A work of the same name.
By Durgesvara Bhatta.
Substanco, country-made paper. 12x65 inches. Folia, 19 (11-16 and
21-33). Lines, 9, 13 on a page. Extent in Slokas, 570. Character,
Nagara. Appearance, new. Incomplete.
see L. Vol. VIII, p. 22, No. 2570, for the text, and
both for the text and commentary, Peters, 5, 199-93.
The work is based on Prakrta-pingala.
Leaves from 11 to 183 are written in red ink: the r
est
in black, but in the same hand.
This fragment contains 15 chrndas.
There igs one more leaf of some other work on prosody,
49
ALAMKARA OR RHETORIC.
4787.
9707. BARTTIUAT: | Alaikara-sekharah.
By Kesava Misra.
Substance, country-made paper. 115 inches. Folia, 51. Lines, 9
on a page. Extent in S5lokas, 1,000. Character, Nagara. Date, Samvat
1914. Appearance, tolerable. Complete.
This is a commentary on the Alamkara-sutras of
Sauddhodani, written under the patronage of Maharaja
Manikya Candra, by KeSava Misra. He is stated, in the
second introductory verse, to be the author of seven other
works on poetics. But all of them, as he says, are
intelligible only to those who are versed in the Tarka-
Sastra. Hence the necessity, he says, for writing the
work under notice. What the seven works, he speaks of,
are, is not ascertainable.
Rama-candra, Manikya-candra’s grandfather, died
in a sanguinary war between a sultan of Delhi and a king.
of Kamta (?). The dynasty to which Rama-candra, his
gon Dharma-candra, awd Manikya-candra belonged, 1s said —
to have their origin in SuSarma.
For a description see lL. Vol. IX, No. 3307.
The last colophon runs thus :—
ofa lassi saa llaaTr a RZA lea HAGE
Ret arreawusfasad fasraTa |
Post Colophon :— -
AMlATAAAM AAA ATSAFTANUE |
SR TMA a PMA IAM Sag |
. a > .
Hqo 2628 aE ale WRATAL Ay |
( 387 )
9708. The Same.
Substance, country-made paper. 10}x4 inches. Folia, 16. Lines,
12 on a page. Extent in Slokas, 530. Character, Nagara, Appearance,
tolerable.
A fragment of the same.
4789.
—~—~_ — Q -
4057. ATATSIA: | Mavyadarsah.
By Dandyacarya.
Substance, country-made paper. 14}3 inches. Folia, 29. Lines,
7 on a page. Character, Bongali. Date, Saka 1739. Appearance, dis-
coloured. Complete.
A work often printed and often noticed.
Post Colophon Statement :—
feat aaas: waatafotaartustfaaa
Tat vTatadd weat Hs THT |
wa tarfatha fea fad TAL Hat
weal ataasaaiafaad ay froaratas |
Colophons :—
6B, fa ararew oea: ufee:: 21B, vara:
afisanat arated feats: ufespe: |
Last Colophon :—
Zara feat RIMM cata: ufesse? |
SATHANA WT |
Ava WHE (ore Btfafcuctayuya: wR SIAC |
yaa-eq feqae feaa waa
ata feat ae aezla |
wang asafe winery
AU Ay MLU IMAG AH Az |
{
'
{ 386 )
alfasatnayal faratna
TRUS AAGATA AST AHA
@ umuteta wae urtaemfa
qufagiaa_faatuwza Seat: |
A700.
4544. The Same.
Substance, country-made paper. 1424 inches. Folia, 48. Lines, 4
on a page. Character, Bengali of the eighteenth century. Appearance,
old and discoloured. Complete.
4791.
3033. A@TTAZTaASTC: | Vagbhatalamkarah.
Substance, country-made vellow paper. 93x34 inches. Folia, 21.
Lines, 7,8 0n a page. Character, Nagara. Appearance, old. Complete.
Written in two different hands, the first four leaves in a smaller hand and
the rest in a larger one.
The work has been often noticed and often printed.
4792.
7796. The Same.
Substance, country-made paper. 10}5 inches. Folia, 21, of which -
the first is missing. Lines, 7 on a page. Character, Jaina Nagara. Date,
Samvat 1916. Appearance, fresh.
Last Colophon :—
afa slammueraata: wart waa |
Post Colophon :—
daq vend aa Sema ara fad yo cut
wzyatactfaarat fa: | az (the name is blurred over
with ink) fa¢stiat vataHaeBad arermeai arat,
SY) RBM |
( 3389)
4798.
S991. ATTHSTARILSSRaT |
Vagbhatalambkara-sitra-vyakh ya,
Substance, country-made paper. 10x43 inches. Folia, 30, Lines, 9
on a page. Isxtent in Slokas, 700. ClHaracter, Nagara. Fresh. Incom-
plete.
Incomplete. Thirty leaves. The MS. is incomplete
and the author’s name is not ascertainable.
It begins thus :-—
arms = aa |) haar Sraforafaara-
amafasafa watt: afearsaa: we vwafe i qne-
atiaitiamyiaaatio feaft zat anaaahy
=~
Sat: ae wranaazg = |
4794,
8998. HAHMAAT | Kavi-halpa-lata.
By Debendra, the son of Vagbhata.
Substance, country-made paper. 9x4 inches, Folia, 36-67, Lines, 9
ona page. Extent in Slokas, 1,600. Character, Nagara. Dated, Samvat
1713. Old. Fresh.
From leaf 36 to the end in leaf 67,
Colophon :-—
xfa Slamagaquemafattafactaat afaaernar
GaTAT |
Post Colophon :—
44-AH-quiretaa se GSR rare |
( 390)
4795.
4447, The Same.
By Devesvara, son of V agbhata, otherwise called Magha
Caitanya. .
Substance, country-made yellow paper. 17} 4 inches. Folia, 68.
Lines, 5 on a page. Extent in Slokas, 1,400. Character, Bengali of the
nineteenth century. Appearance, fresh. Complete.
Last Colophon :—
rfa staraaaafacfaa afanaarasa FSA |
The 8th flower is a collection of 26 verses.
Past Colophon :—
HATHISA WT |
This is a manual of rules for composition ; published
in the Pratna-kamra-nandini, Nos. l-3l.
See Aufrecht, Cat. Bodl., No. 498 ; Weber, Cat. Berl.,
No. 822: and I.O. Catal. No. 1178.
4796.
10557. The Same.
By Devesvara, the son of Vagbhata, the Minister of
the King of Malava.
Substance, country-made paper. 10x4 inches. Folia, 57, of which
the last three are a restoration. Lines, 9 to 12 on a page. Extent in
Slokas, 1.400. Character, Nagara of the eighteenth century. The restora-
tion being dated Samvat 1964. Appearance, old and discoloured.
Colophon :—
fa ana FaRR | | AfTHeTHAT AAaTAT |
Post Colophon :——
at daq yede AIR AMT Mat gaa ATTA
LaAaLA MA TMTARAH | Tat Apa_a |
( 891 )}
Beginning :-
STMT AA: |
TRafehiahaar whawTaqareksear
ca: aivfmat: quTaRnar Menges: |
ararerautega thay Saya faaetwat
ared HUTA WH Seq aT SHS Tet werNr 1d I i
The author :—
AIA aS-ASTATA-WASNNS- aH |
2arqeu: vagqad afanaaaatfaara 4 2
g(t)faar-uifaatana: ata Fat Tae |
gaye afsarara-HraTfawa4nr Ta ys |
Teal: qa: WA aay B_Lat aa |
Us US USANA HT GATT Il 8 Il
afafrraind Tat Ha sTaqasttal Fz |
faana Hat dicrafcamafeah |
qoneyeaaan eetfanke faa |
afaaauaat Sa waa ufewteara |
WITHA: WALA ET |
@ aa wave aH HaAahaar HATE |
The end :—
aifaqat TIAA Bachata
2axgem afaatnfaaraga |
HIQAAMAGAS HHS FAT
at meuAa HlaReQAATaalE: |
Hints are given how a man can write verses easily in
Sanskrit. |
4797.
4015. The Same.
Substance, country-made paper. I8™ 3} inches. Folia, 17 to 47.
Lines, 6 on a page. Character, Bengali of the eighteenth century. Ap-
pearance, old, discoloured and dilapidated. A mere fragment.
The fragment contains the second stavaka minus the
first kusuma of which there is only the colophon, the
third stavaka and the beginning of the fourth.
28B, afa fadtarraeaa efesifrafaaie aa wea FeAa |
aang fectareramaan |
40A, sfa afaanuaatat catamaran atfeas ata ue
RACE | aatAaata Satay: RATA m: |
4798.
9360. The Same.
Substance, country-made paper. 10x45 inches. Folia, 62. Lines, 10
on a page. Extent in Slokas, 1,220. Character, Nagara. Date, Samvat
1914. Appearance, tolerable. Complete.
-
With marginal notes on some leaves.
This contains rules for composition and Is divided
into 4 chapters called stavakas, which are subdivided into
4, 5, 6, 7 kusumas respectively.
See [.O. Vol. III, p. 339A. Catal. No. 1178 to 1182.
AT9ISA.
8180. The Same.
Substance, country-made paper. 12x35 inches. Folia, 80. Lines, 9
Extent in Slokas, 1,300. Character, Nagara. Date, Samvat
on a page.
The first and the last leaves are
1964. Appearance, fresh. Complete.
restorations.
Post Colophon :—
waq weds wiffe BH ¢ NF aragtacaary-
LRH AUT AI TAzae |
( 393 )
The colophon runs :— |
sfa samgaanemtasaeaseha afsaaraar
GHTHT |
AAMe WEUB utd wo ¢€ Ao, wh aqaatyraPegera var |
4799.
10004. afqaed AATATRIT | Aavi-halpa-lata-vyakhya.
By Mahadeva.
Substance, country-made paper. 9x4 inches. Folia, 20 marked
13-32, Lines, 15 on a page. Character, Niagara of the nineteenth cen-
tury. Appearance, discoloured and decayed. A mere fragment.
The text, Kavi-kalpa-lata is by Devendra.
* The work gives instructions for versification on various
topics. It consists of + sections, called stavakas, which
again are subdivided into Nwswmas. See Oxf. 211A,
W.p. 228, and T.O. Catal. 1178-1182.
WA, sfa afiaeuna-etaeah 6 csedaeaqaarel
SATAT]
21B, xfa weuaalediewahi anstataate fadtaqaaaren
TATAT |
23B, afa cate unaeleai ata edlaqega agra |
274, afa ecliawas favearamtyaaaqigga avatar
AAT BAT |
28A, xfa eat a-actmifeqaane- daa |
28B, afta afaneqwarait atfeasane-aeqqaareall FAAS
eata: eam: | |
29A, afa Watieat VeARAARTTET | zea lagaretedtaRga
GAG IMA | -
5O
( 394 )
4800.
8999. TeTeaataar | Padartha-dyotantka.
( afaneaearctar )
A commentary on Kavi-halpa-lata.
- By Mahadeva, the son of weABATKeq |
Substance, country-made paper. 84x34 inches. Folia, 146. Lines,
10 on a page. Extent in Slokas, 2,900. Character, Niagara. Old. In-
complete.
From leaf 69 to the end in leaf 146.
This begins from featanaa, as the text noticed under
the last number begins with the third.
The last colophon runs thus :—
afa stasmueng2 aac tac toanfaneaaarat BtAg-
ugasiqae-ataaiiage-aeleaqnatatr «= ge td atafaat-
Qa Wass THIGGA HATH | BeqUaTs DAT |
It ends thus :—
qua: ay etew aaa wet wa waa aata-
wea + + + + + + +1 Bata stuart
atime aeut qa faa: afaraqyataqeatant:
aa a: afeat war: qeeat wafasafa: aTaTa Aa
aaa waltagd wd aaaat awtfa wer a
ate Baad aamaearaatata fad | es |
4A800A.
10202. ART aaKa | Srngara-tilakam.
by kudra Bhatta. :
Substance, country-made paper. 9x4 inches. Folia, 35. Lines,
8 on a page. Character, Nagara. Date, Samvat 1715. Appearance, old
and discoloured. “Complete.
( S9Yb+ }
Last Colophon :—
sfa anugfactea seyrefaah cama eataufeepe: 121
HATHA OY |
Post Colophon :—
WeeaMgay RMR Tafa (?) |
gate fanaisars wertaa wraat j
Haq (9 uy aifarafe po wat fafwafad Tanacraaa aarataa
area |}
See Oxf. 491.
4801.
5456. exelent iemMg | Rudratalamkara-tipparam.
By Nami-Sadhu.
Substance, country-made paper. 10x3% inches. Folia, 75. Lines,
10 on a page. Isxtent in Slokas, 2,600. Character, Niagara. Date,
Samvat 1578. Appearance, very old and discoloured. Complete.
Last Colophon :—
afa afaaryfacted amectaqrefemmmy + + + +
Post Colophon Statement :—
wdaq Woe WAT Faafe Tat
So r sm + +
The end has taded away. It contained the name of
the place where it was copied and the name of the reign-
ing king. .
The text is by Rudrata and the commentary by
Nami Sadhu, the disciple of Sali-bhadra the head of
Thava-vadra-puriya gaecha.
See the end in Sanskrit in L. 3329.
The concluding verses, the last of which contains the
date of the composition of the commentary (1125 of the
Vikrama Era), are not given in the present manuscript.
( 396 )
4802.
1824. SfaytTsPAATaaArT | Abhidha-vriti-matrha.
By Bhatta Mukula, son of Kallata.
lor the manuscript see L. 2438 and for the work see
Buhler’s Kasmir report p. 66.
It is a short elementary treatise on Abhida, one of
the main topics of Indian rhetoric.
The author belongs to KaSmira and to the 10th cen-
tury A.D., as he comes between Bhatta Kallata and
Abhinava Gupta, both distinguished Saiva philosophers
and rhetoricians.
Rajendra-lala thinks that the character is Nagara, it
is modern Kasmiri.
4803.
9621. SHEA | Vasa-riupam.
By Dhananjaya with Dasa-ripavaloka, the commentary
by Dhanika.
Substance, country-made paper. 11x65 inches. Folia, 68. Lines, 10 i
on a page. Extent in Slokas, 2,040. Character, Nagara. Date, Samvat
1841. Appearance, tolerable. Complete.
This is a well known work on dramaturgy, printed in
the Bibliotheca Indica and translated by G. C. O. Haas of
Columbia University.
Colophon :—
ata sifamettifay eects cafsarrad-
URL: AAT: |
Post Colophon :—
wad {see Atal ata afe vy are aataz |
4804.
2494. The Same.
Substance, country-made paper. lOx 44 inches. Folia, 74 of which
Character, Nagara
Appearance, discoloured and corroded. The
the first 18 leaves are inissing. In tripatha form.
of the eighteenth century.
last leaf is of yellow colour.
Often noticed and printed.
Phe last colophon of the commentary :—
sfa stifamaati fang nat TURUMR aG:
WRIT: | WAA |
4305.
~ 9006. The Same.
With its commentary entitled =WRaiqayy by ufaa, the son
Mesre,
Substance, country-made paper. 103 inches,
Folia, 85. Lines, 7
onapage. In tripatha form. Character, Nagara.
Fresh. Complete.
Complete in 85 leaves. The text in the middle and
the commentary above and below.
For the commentary see I.O.*Catal. No. 1129.
4805.
3808. arateagy | Kavirahasyam.
Substance, country-macle paper. 13x 2 inches. Folia, by counting,
I2, Lines, G6 ona page. Character, Bengali of the seventeenth century.
Appearance, faded and dilapidated.
A fragment of Halayudha’s Kavirahasya :—
tata aye: RWI tas wate: |
caata vw watit ad + + 4.4 + 44
( 398 )
_ This is a work on rhetoric in verse. It also gives the
uses of roots. It has been often printed in Calcutta, by
Sir Raja Saurindra-Mohan Tagore and others. The MS.
was copied in Saka 1599 by Vi8veSvara Sarma.
The Post Colophon runs thus :—
| WHS Wee AGH Saat AUsTS JaT-
fafad | <xfa aatnaamgaizd, afacwufag cat
taza |
c
gzhrgiafana eagufenate afa: qaattaa!
aaa + +1
4806.
8997. ATMATHUTHATUATTAT |
Sarasvati-kanthabharana-hartkd.
By Bhoja.
Substance, country-made paper. 9x4 inches. Folia, 12. Lines, 8
‘on a page. Extent in Slokas, 200. Character, Nagara. Old. Incom-
plete. |
The first chapter only in 12 leaves, and five karikas
of the next chapter in leaf 12.
ASO.
1672. The Same with tllustrations.
By Bhoja-raja.
Substance, country-made paper. 1345, Complete in five chapters.
First two take 77 leaves, the third 37 leaves, and the fourth and fifth 82
leaves. Character, Nagara. Appearance, fresh. Complete.
Printed in Calcutta under the auspices of Anandasam
Barua 1883-1884.
( 399 )
48308.
4851. ACSA BTATUT AAT |
Sarasvati-hanthabharana-laghu-tika.
by Harthara Misra.
Substance, palm-leaf. 12}*2 inches. Folia, 8 to 47. Lines, 7 on a
page. Appearance, discoloured. Character, Naégara,
The first Colophon is in 19B :—
qUuauf=pe fasta aarafafa |
It ends thus :—
auqatfea fata
AAA TAY BATA
Last Colophon :—
fassttefoesfacfaatr UVCIATHUSTHLU AAS
SATHT |
4809. |
5184. RT SURAT LATCART Kavya-prakasa-karika
or Kavya-prakasa without the prose portion and the
examples.
Substance, country-made paper. 14x2k inches. Folia, 12. Lines,
50ona page. Character, Bengali of the nineteenth century. Appearance,
fresh. Complete.
Colophon :—
sfa HTAVRTTRtcaH Barat |
4810.
11121. The Same. Here called Sutra-patha.
Substance, country-made paper. 13x5 inches. Folia, 3. Lines, 12
ona page. Character, modern Nagara. Appearance, fresh. Complete.
These leaves contain the karikas of Kavya-prakasa
numbering 141.
( 400)
Colophon :—
afa Stara wauts: warfwanad |
4811.
8994. The Same.
Substance, country-made paper. 114 inches. Folia, 11. Lines, 7
onapage. Extent in Slokas, 180. Character, Nagara. Appearance, old.
Complete.
Colophon :—
ata miguntnt atfentat wafdarefamat ata ea
SST | AATHT RITHM RCAT: |
4812.
3980. The Same. With Vriti and examples.
Substance, KaSmiri paper. lOx7 inches. Folia, 95. Lines, 10 on a
page. Character, old KaSmiri. Appearance, discoloured and worm-eaten.
Complete.
Many of the leaves contain marginal and interlineal
notes.
- » Colophon :—
ata anafaufaqqyanmeugtataa HIYTAF ACS
faqay FaTaVATA Bagiefawrat aA SA TRA |
aaiatae aguataa Hegafata |
4813.
718. The Same.
Substance, tadi-pattra. 142 inches. Folia, 91. Lines, 5 on a
page. Extent in Slokas, 2,200. Character, Bengali. Appearance, worm-
eaten and dilapidated. Complete.
( 401 )
4814.
$555. The Same.
Substance, country-imade paper. 10x5
inches, Folia, 78. By
counting. Lines, 10 on a page.
IZxtent in Slokas, 1,500. Character,
Nagara. Appearance, fresh.
Incomplete.
From the beginning up to the NARWIFAeTH and the
chapter on Alamkara.
4815.
S738. The Same.
Substance, country-made paper.
_ Yonapage. Extent in Slokas, 2.500.
vat 1902. New. Complete.
13}X5 inches. Folia, 128. Lines,
Character, Nagara, Dated, Sam-
Complete in 128 leaves in large, bold and beautiful
hand on thick paper with marginal notes throughout.
Copied in Samvat 1902 at Benares. On the back of
the last leaf oecurs the tollowing Sloka :—
WX PACCA-THATT (Reo) ATT ATHTRR,
aad wanvettetantagqi(a:) areas: |
atanmetaa aumafaat oxy wert: ye,
vy aTy wuts ATaufaayt sat faeranratt qa |
4316.
3527. The Same.
Substance, country-made paper. 17x83 inches. Folia, 90 of which
the first five are missing. Lines, 6, 5 on a page. Character, Bengali.
Date, Saka 1435. Appearance, fresh. Incomplete at the beginning.-
Colophon :—
ata BIANATA sales easy ata TWA SATE: |
ot
—_ —————eo77~7™
( 402 }
Post Colophon :—
AATAISA Wy! |
WTA amEarasafaa AQIATAATS |
ato fafata geanfae frematreta |
statss uferara etfaafaa: wat faarent fafa: |
qiara: wfaaaea AAT aaifutane: !
48177.
4726. The Same.
Substance, palm-leaf. 12x 2} inches. Folia, 5 to 126 of which the
following leaves are missing: 1-4, 7, 12, 13, 15, 20, 23, 33, 35, 36, 37, 39;
41, 42, 44, 46, 47, 49, 50, 53, 59, 60, 61, 64, 66, 67, 73, 77, 81, 84, 87, 89, 93
to 99, 101, 103, 104, 108 to 111, 113, 114, 117, 118, 121, 123 are missing.
Then there are 26 leaves with the leaf marks lost, one of which contains the
colophon of the 5th ullaésa, after which there are 12 leaves. Lines, 4, 5, on
a page. Character, Nagara of the fourteenth century. Appearance, old,
discoloured and worm-eaten.
48138.
2983.
A fragment of Raghudeva commentary on the karikas
ot Kavya-prakaSa, which are attributed by the com
mentator to Bharata-muni, the Vrtti only according to
him is by Mammata Bhatta.
For the MS. see L. 4242.
Beginning :—
BAM AA! |
casqaara alas atfaat |
UUATAA a TAR TARTS-GHTFILAT I
HCA fa: GRADH ACSA TAH TLM- HTH AATF TL UTTAR
ufaaax-fasfautata ouatet anmMeafaecagaare faafaea-
franateat carte |
( 403 © )
4819.
835. TSMR: Asta: |
Kavya-prakasa with a commentary.
For the manuscript see L. 1681.
But the description
there is misleading.
The accompanying tika appears to be a recast of
Jayanta’s commentary, improved and supplemented by
quotations from many later commentaries. The com-
piler’s name Ratna-kantha, and that of the tika, Tika-
sara samucchaya are to be found in leaf 68B in a verse to
be quoted hereafter.
Aufrecht says that the Jayanti commentary was
composed in 1293.
The commentaries quoted in this are: (1) Bhaskavra’s
commentary, (2) Sarabodhini by Srivatsa Varma, (3)
Pandita-raja, (4) Kav ya-praka8a-stttra-nirt paka-kavya-
pradipa, (5) Pradipa-kara, (6) Kavya-ratna-pradipika,
(7) Brhat-samketa-kara (14B), (8) Bhima-sena Macadha,
(9) Alamkarodaharana (297B) by Jayaratha (?), (10) Su-
buddhi misra-tika, (11) Vistarika.
41A, xfa si fanbase f-staaReraeatachaa HMTASTC
tufiqa aragatat ufasaugsttsraafacheadianat aeeharare.
Ua haat RAIA ATMALMBVRefawal aw wa Saw! |
64B, eta Slegaaafacteami atau faraasar
tafearat fafayefatawat aa fedte ware: |
68B, afa stugaaafactaatat qragarndifwanrat aes.
fama} ata zala wate: |
Aad awe tary: WILASA GAT |
faterat tanter Statarceqeg: |
131B, ata stataquata(a) clara? wad vara: |
( 404 )
L59B, xfa stastastfeaugazaatachaarat waetaracate-
alat arquanraetfaaral wea SATA: |
162A, cfa stag waifeaugaaafactaarat aaretararcate:
Tat Rigas thaarat BS TAT |
227B, sfa ugza-afacfaarat agua = awetar-
yqrcateaat etafaeaa ATH AAA Jae |
239A, zfa atartfeaugaaafattaarar AIQITHTUS oar
AUR aca earat qari ae-faraga fara at ata HEA SATS |
266B, sha wtfeaulslaratactaarat arasarrel fear
Zrataatearat wearagiafasat ATH AIH SAT | |
See Peterson’s second report p. 16.
-
4820.
913. RTARTA T UTA
Kavya-prakasa-nidarsanam.
By Rajanaka-Ananda Kavi.
For the manuscript see L. 1825.
Colophons :—
4A, xf stares fafanwtaatat atateuedtd Waa |
34B, xfa targuagesa fafanwfaatuata + +4+4+ +
faatateare |
41A, zfa Mtarsarafaens fufanwfaatutsvagaat-
AMAT SAT |
4821.
4739. HTAUATUZTAT | Kavya-prakasa-ttka.
By Sri-dhara.
Substance, palm-leaf. 12}x2 inches. Folia, 1 to 115 of which the
following leaves are missing :—24, 32, 34, 46, 47, 48, 50, 54, 56, 59, 63, 65,
69, 86, 87, 88, 93, 95, 100, and 114. Two leaves are marked 61. Lines, 7
Leas oe SC
( 405°)
ona page. Character, Maithila of the thirteenth century. Appearance,
old and discoloured. Incomplete both ends.
The MS. begins from the 6th ulla€sa and comes
abruptly to an end in the 10th ullasa.
2B, sfa mraaatafaas Stucfacfea we were:: GIA, efa:
Saiuctartaa AaquHylaan AIA VRE: |
See my Report for 1895-1900,
4822.
4738. The Same.
By Tarkacarya Thakkura Sr Sri-dhara.
One leaf measuring 12 X2 inches, contains the end of
the commentary. It is written in old Maithila and marked
117. ;
Colophon :—
sfa ARTHAS ETT ATT CER SOME RE CEE]
SIA Seyret: |
Post Colophon :—
aaea—faaz sat fact aaaaeerfaast—saa sta
faweqaAsgar qateyaAt TALTTLATS ag fHaraeqnyta-
sHetfaaaatatarsal ataae stage afear aa
storacat fafetat + + + + ae rey anita
afe jo Gwatsaruftaasa frasia | aacayaWe
SAHIAR: TEA |
Here the MS. comes abruptly to an end.
See my report for 1895-1900.
. This is the last leaf of the previous number but it was
separately acquired and a separate number given to it,
the MS. was written in a hurry by two scribers under the
order of Vidyapati the Maithila poet about 1405 A.D.
( 406
4323.
2886. HTM: | Navya-pradipah.,
by Mahamahopadhyaya Govinda, son of Kesava and
elder brother of Sri-harsa.
Substance, country-made paper. 1U0™* 4 inches. lolia, 183 with 24th
leaf missing. Lines, 9, 10, 12 on a page. Iextent in Slokas, 5,500.
Character, Nagara of the eighteenth century. Appearance, discoloured.
A commentary on Mammata_ Bhatta’s MKavya-
prakasa.
See Oxf. 502-504, L. 3022 and [.O. Catal. No. 1146.
But none of them quote the verse last but two, in which
Govinda speaks of his younger brother Sri-harga in very
high terms. aes a te : — _ |
ae Hay: aMtafa aataian yrs fat
Tan muaaaos fasufasaa |
stea fated wa afa aateta a a WtaTF-
ZaIqBeAst Hea fafaat uTztsaaretfaa: |
This Sri-harsa is to be differentiated from Sri-harsa
the author of Naisadha. for, Govinda quotes from both
Sri-harsas, distinguishing his brother by saying ayalg
gstwuwg. The work has been twice printed once in the
Kavyamala and once in the AnandaSsrama Series
Govinda mentions also Ruci-kara Kavi as his elder
brother.
48324,
9346. The Same.
Substance, country-made paper. 9x4 inches. IT olia, 179. Lines, 12
on a page. Extent in Slokas, 4,650. Character, Nagara. Date, Samvat
1780. Appearance, tolerable. Complete.
Some of the leaves were lost, namely 1-7 and 45-61.
They have been replaced, 1-17 by 1-10 and 45-61 by
45-73.
See Ce eee eee ee
( 407.)
The first ten leaves and the leaves from 45 to 72 ina
different hand look fresh and seems to have been replaced.
The text by Mammata bhatta is well known and repeat-
edly printed. ror the Tika see L. Vol. IX, p. 124,
No. 3022.
The opening verse in the present MS. gives his
mother’s name as #tatZat, while according to the MS.
noticed by Dr. KR. Mitter it is arareay |
48325.
> m6 ated f 7 ry
S737. The Same.
2 Substance, country-made paper, 3} 06 inches. Folia, 124. Lines,
13 on & page. Extent in Slokas, 5,400, Character, Nagara. Date, Sam-
vat 1923. New. Worm-eaten. Complete.
‘Complete. 7 ullasas in pp. I-83, the remaining 3
ullasas, new pagination, Il—-4l.
It begurs :—
atatzau WaaRaas: FWA Ast
Raia waacas Sears ware |
SLAAMIaMAeMay: eanryia fad
aat aleaanty aS: qigad wats |
quae fateery oye ufefyada wtaafsatar:
aqArTaSs AAA Rrgeaait wfaared[ | acfar-
aangafaat wifttwaufoaaachanrt oma
datfa faafanafaaacteai |
The last colophon :—
afa «o-STlawMAVirasmMfaefacha = aTaett
AGUAS AAWA AH CWA BRS! ARH! BWA ERs,
BHAA ATH AHA ast quawt Wfad aqaware
RIA DIA Neary |
( 408)
4826.
if 2985. The Same.
Substance, country-made paper. 12x45 inches. Folia, 2 to 9+1 to
40. Lines, 10 to 13 on a page. Character, Nagara of the eighteenth
century. Appearance, old and discoloured.
The manuscript contains the commentary on the 8th
ullasa of which the first leaf is missing (2—9) and the first
forty leaves of that on the 10th ullasa.
Post Colophon :—
giafeaagqa(?)s& aia was 2a |
am fngmtaraataaa ufaaa faut |
Colophon :—
afa Stag AUSTISSATATE: |
4827,
2923. RITMASTAT TT: | Kadvya-pradipodyotah.
By Nagoji Bhatta, or Nagesa Bhatta.
For the MS. and the work see L. 4117.
Kavya-pradipa is a commentary on Kavya-prakasa,
L and the present work is a commentary on Kavya-pradipa.
The Col. of the 10th ullasa adds the word Laghu
before Kavyapradipa.
4828.
8735. The Same.
By Nagojzt Bhatta.
Substance, country-made paper. 103444 inches. Folia, 243. Lines,
13 on a page. Extent in Slokas, 11,300. Character, Nagara. Old.
Fresh. Complete.
Complete in 243 leaves.
( #O9 )
It hegins :-—
aaa HTT aa Barwa
TFALTAI TMT HTHat aaswifaai: |
altwrg: Fea um feraar fag
aTQuetataaar fansraatae |
wiqaifea Saqauaanfe: | fates afar VARNA: |
Wea: Biatafa: aat aaa ferauaagiaafy AFT aha | ATS VAT
afy af<zaara WAeISaTaA WW Hyararara xfs TTR she Gy:
afar Zaqiatulatd Wie aefundafa awe: Raa Trai
aMzateuare a fas fated Fateta fray wl aaefe feta
Faataeaqa: |
This seems to be a commentary
entitled wtaqeta on WawWRIIT, |
Roarat
on a commentary
4829.
5700. ATANSTAAT WAST |.
Prabhit, a commentary on havya-pradipa,
By Vardyanatha, son of Rama Bhatta,
Substance, country-made paper. 115 inches. Folia, 86,
34 leaves have been restored in a new hand in 81 leaves, so the number of
leaves in the MS. is new 133. Lines, 14 on a page. Extent in Slokas,
2,580. ‘Character, Nagara of the carly nineteenth century, Appearance
discoloured. Complete. :
The first
It begins <—
SAMMI aa: |
a: WAITS Ae Tis
aaitctr: aaagfrautera | 3
a autitaanarfeacgg :
AMIRAS WAI ASW |
52
( 410) |
qareaaqarhs yy a TSA |
yaaa wat faaataqeH |
Taaqecua wafaateaantaayan AaATALAa a fiqtHa
© —"
zquta :—atatzai «fa |
>
Kavya-pradipa is a commentary on Mammata s
Kavya-prakasa, by Govinda Bhatta, son of Kesava and
Sono Devi. See I.O. Catal. No. 1146.
[t ends :-—
PIQIRIUAANLUIAaT AT A ATA: |
sfa uetunatiaaraiaaiat Haz |
gaa otiwai zat afaet Taal Fa I
FACTAARIR AATATHAT fea
Colophon :—
afa oP ara He RTE AIK-AqCAC UA CTAAZSSA
avamatat aTauStuaerat warner ema See
wea
4830.
9348. The Same.
Substance, country-made paper. %x4 inches. Folia, 89. Lines, 10
on a page. Extent in Slokas, 2,490. Character, Nagara. Date, 1780.
Appearance, tolerable. Complete.
This is a commentary on araguety by Govinda, which
is a commentary on Kavya-prakasa.
It begins thus :—
SUNMWIA TA: |
a: qaqeranay HeIqiaRaehs: aaaylaaateTa |
a qual fanaa fcacgugrMITaAy THUG ASW |e |
qeaizactatia gay a TAA
HIE vet faaatares i 2 |
¢ 411 =»)
waaaeaa afasaiwmaaqaat Ayaan
afiua eyafa “arta” rfa |
= ; ~ be” ° ,
‘ afar. fa: auaarafasa YAS TAT Aga Fat aye
ata opgifefsagud greqiquaaicany acqarieat fe
al2zma araa; aaa] yp
Lind :
wag BuRufaqies WeMmatetata aearat qa wate
atauea
AIAAIHI-WARTL-WTaTaT 4 twa:
sfa uetu-wane-urardatad wag | 8 |
aaa dtaat at sfawt caat ga:
FASTAAIH HAH ataMt fea: |e |
Colophon :
efa ATA AHA ARAL ITS ey IANEES-
TAA AAA RAAT wert caw: SRE: 5
Post Colophon : —
{ Ay Ware |
qq waataquigfaad aut anwfaanaua |
aTasttaaqasat sqreatiae aayetayai
_ wart ne |
Stra fraiam sara |
4831.
2492. ATEMaArUaeartcar |
Kavya-prakasa-vistarika.
by Paramananda Cakravartt.
Substance, country-made paper. 10x5 inches. Two paginations, the
first from 109 to 144, containing the colophon of the 5th ullasa in 142 and
that of the 6th in 144, and the second from I to 188, containing the rest of
the work. The leat 57th is missing. One stray leaf marked | is put
( 42 )
at the end of the manuscript. Character, Niagara. Appearance, dis-
coloured.
The last colophon :—
fa o uxaraeumafamaat «= aTauarafaearfearat
aapaanictacan a 2 Sara | Aye HAVA
faentfeant |
see L. 1638 and H.P.R. Vol. IJ. 64.
4832.
3364. The Same.
Substance, country-made paper. 15} 2? inches. lolia, (by count- |
ing) 102. Lines, 7 on a page. Character, Bengali of the fifteenth century.
Appearance, faded and worn-out. Defective at the beginning and at the
end.
Colophon in 81B :—
tfa =asaraceamafanat arauatafaeatoarat ata-
| faeeet ATA ada Gels: |
For the work see L. 1638 and H.P.R. Vol. I. 64. In
the opening verses the commentator is described as a dis-
ciple of [sana Nyayacarya.
4833.
9674. ATQIYRTI | Kavya-prakasah.
By Manmata Bhatia.
With the commentary entitled TATM Prakasa.
By Kamalakara.
‘Substance, country-made paper. 145} inches. Folia, 1-6, 1-3.
Lines, Tripatha form. Character, Nagara, Appearance, fresh. Incom-
plete.
A fragment comprising the first chapter and a portion
of the second.
Vhe Tika begins thus :-—
s af aiomgaa aRtse |
Sifaaacra aa: sacar aa: |
Aa THM VMSA BV WATE css |
atuaaanfvat aatarery arat }
AILSA A -ATAE TAMAS: Hat |
RIQIRTIAT BRA aatfa WASTHE: | 2 | -
aaa Tt femy: wee af verti |
arnawmmaifagtayt a: yfasa: atsquryai 5
amnanimar aitaeaa creme watfenare azita
4834. :
683. ATAMATMSTAT | A avya-prakasatiha
By Gada-dhar Cakra-varti Bhattacaryya,
A fragment.
For the MS. See L. 1527.
Leaf 15B :—
USTAAMATHTG Wergqgxe Szrew: |
MATT TIA Te-aAEe Bawa |
4835.
f 3563. The Same.
Substance, country-made paper. 22x 4 inches. Folia, 37.
9 on a page. Iuxtent in Slokas, 1,800. Character, Bengali of ;
: he Sight-
eenth century, Appearance, discoloured. Complete.
Lines, 8,
Colophon :—
afa stirteteasy gjrayarefemat |
( 414 )
Post Colophon:—
| AH: |
It begins :—
yay tatmamanysd retefaes TRRTWAR |
TAIL BiFRA VA! ABIRMY TeTIFT |
RIy-aguzag angfas-stayoiag it fregmeEg--
alfa fanaa saa fas faafanaareayrerrs )
yaad swaaaaiata gaya efa |
qa Ogata aa ray; aaeafer
yaaa sfa saad | weemataaa aay: |
It ends:—
qq tatsaaaimt a fagataaricfasia: | ad
waa wifanamances wasuaaaquTda 494
aRuqIgaa wuz faqu-faufauraeqaqaaaaes
Bie srante eatfugiatfa wat arntearfeaa Bratale
aerfeaiantugista afsazwmuraammaaisto araheta-
MATL TAG: |
BAA seq: ait Ile |
gine feeaaegaiaat |
mana HaAMt Were: |
AAT Saez a Paaaa-
faazatsuaead aa: Wa: |
4836.
6583. The Same.
| By Gada-dhara Bhatiacarya.
Substance, country-made paper. 194x3} inches. Folia, 46. Lines,
10 on a page. Character, Bengali of the early nineteenth century. Ap- a
Pearance, fresh. Incomplete.
“Ba
( 415°)
The mangalacarana and the object of the work :—
yay watnaaangsy urease URRTTAR |
TAT PART Wa! AAIVIAVIY FSCUET I
Then tt goes on :—
HY-agqHe-aaamyfasetaqaormy eS SA—
alfcatfaanmannyruataasfaaaatenyaSray
yaad sWaasateata Baye fa ... etc.
10A, ASTUAAHAU WETHT BeTEHt: |
Baad VIAGRA GAA ||
34B, ATYURIVWUY ASICes-
qaragqautteaara feata |
reTyat wieyqeuray
yAicattaqasfaraand |
39A, autre Tata wlwerere: |
qeraaaaaa earaq vifsawae |
The commentary on the fourth ullaSa is left incom-
plete.
48337.
8736. quaafaat | Sukha-bodhini.
ATAARTUSTAT |
A commentary on Kavya-prakasa.
By Venkatacala Surv
Substance, country-made paper. 14x53 inches. Folia, 174. Lines,
12 on a page. Extent in slokas, 7,000, Character, Nagara. Fresh.
Incomplete. Leaves 5-153, 155-179 to the end of
4th ullasa.
( 416 )
4838.
3783. HLA netfrar | Kavya-prakasa-dipika.
By Mahamahopadhyaya Candi-dasa.
Substance, palm-leaf. 124*x1% inches. Folia, 95. Lines, 6 on 3
page. Iixtent in Slokas, 3,400. Character, Bengali of the seventeenth
century. Appearance, discoloured.
Colophon :-—
afa | aifaqueafana-asemttaamat aera faae-
aslatu-ageante infes-a asic aa Sa Sa
Marae waa SA SATA: HATA: |
Beginning —
Zalaagtare wafafa) wat ase faa frat
fateaenfrataa HATA JHtyAy_WAres fa a-
AGUAS |
ARCA STH HA AA TS MAATARAA (?) WRIT + +
aqaafatatimaeme weed + + + + seta
ates qegquerat utatay + OH + Yana: |
It begins apparently from the beginning of the fifth
ullasa.
It ends thus :— |
aaa od waAeattaatend afaTaE
+ + + sagifattad afsaqued ara arytg Tea
gate RITA AAR VRTA-eUH-BIls GAT
a1eaUwa (aya at aeahuld aq amacg fat: yeatatata |
AIVYIAIW AI TA RAMs
qreqirfaataaaeretfaarara: |
faa: gaa ufaumaataata-
tate ta-alaataayayr: |
( 417»)
4839.
3515. WMUCAT | Tattva-pariksa.
By Mahesvara Subuddhi Misra.
Substance, country-made paper. 17xX3 inches. Folia, 1 to 69.
Lines, 6 on a page. Character, Bengali of the seventeenth century.
Appearance, discoloured. Incomplete at the end.
It begins thus :—
ee aa: STSNTA | |
CIHUR ITAA AAS ACSA STAT! | |
Std t Ara Ema WsIH aA | :
qeaqarafaarataqefa a Wawa: | r
ata aa afeaegrat eforegantare |
azfeewaraey a eof HaAPTET |
framafa wig a vata areata |
atanaty uefa fant afanaaai |
aqagazaars fart HATA: ||
yarafaaa aa fawat etfraiea: |
waatataaar ¢ aifaaed a eqat: |
aa: qafefasa etariufaeas |
qararte weeraft adterd wha |
aie uaqafaa af grea eat frais
agai agdtas Fetow (?) adage aareaty
aun: (?) Wr waretoqarmislecaaTaewaga-
arafcaatgutaaeais TSM AM AGFA AYRAT AT
quimaaty Petaatacattes faw flataafa! wfereta
umuift cefaacty wa atte weal |
aqaua afaaceesy + + + 4+ 4 afare vote
aveiqaaaafa gata |
( 418 )
i _ ve _ . wareafa wefa
qAeeatescaarHcaeaity AyAaTa aus wa |
aaa waaay afer CHTAAFA |
way efemt unata AFaTGaa Sfefefa |
faafaxegy aeaat faaa: | sart= |
This is a commentary on Kavya-prakasa. Aufrecht
knows the work as an independent treatise on rhetoric.
Colophons :—
8B, xfa statacegfefasaat avauelaral wae vere;
22B, e facta wala: ; 25A, o cata vere:; 62A, wat VRE;
The fifth is not complete.
}
4840. |
682. ATMA USAT | Kavya-prakasa-tika.
By Mahesvara Nyayalamkara. |
For the manuscript see L. 1526.
Post Colophon Statement :—
TURN CAR AHAAT AAS AAT
Sara utaatq (?) aadfararg aTagaTammale | "9
otaTataraat fantfa-afea Seta Aat
ugimwAaseae cfsar HryvAtMaE |
a aragtagadantacare Asha Seat aa:
aaacenr Hatss fans aatsta cary Aart |
a warqua nd <i IQA
feared vite une Haarara sare a |
AIAIATUY RA WS ws start aaraiw aya qe |
awa fastafad a Ses tla a wai faua faataraa |
aiteat S| a ea: Tareas | a
ee a |
( 419 )
4841,
4537. ATAMATM: | Kavya-prakasah.
By Mammatta Bhatta with Mahesvara Nyayalamkara s
commentary.
Substance, country-made paper. 15x53 inches. Folia, the text is
complete in 62 leaves and the commentary in 107. Separately paged.
Lines, 9, 13 on a page. Character, Bengali of the nineteenth century.
Appearance, discoloured.
Well known, often noticed and often printed.
4842. i
6581. TSWANA | Kavya-prakasa-tika. |
Entitled Rasa-prakasa.
By Srikrsna.
: Substance, country-made paper. 19x3}inches. Folia, 10+10. The
9B of the first pagination is left blank. Lines, 8 to 10 on a page. |
‘Character, Bengali of the nineteenth century. Appearance, fresh. '
A mere fragment, containing commentary on the first
ullasa in 10 leaves and a portion of the second in another
ten leaves.
Fol. 1 of the second pagination :—
sfe stammentachaa cagart yaeAate(a TATE |
Beginning :—
earagaat wafeiatararag |
gurfeat yerfeat urarat efratmara |
LaNAMAlaTa waa FHaasyat |
AIAVTATLATATT AAT AAMTATT
qq RY yan feaqanaraaaat afaeumr SHAR
qHiat wauefrert Tea VERI_ Ty Taq
atgtaa: | aq aget ayaatifa wgiaudd aged
hy.
( 420 )
enaaa atfentadaicata Gaye satfeat — —
— — fa GyanmarS waAMeamad aT
waa yaus sfa @euRaaAarS aq aamufas — —
—- — ~~ — ~— sHenafeat araayT-
WU Dat asaiafante: a aq fateat aera
Taya gare wea: |
3A, aAmenge afaaat sate) yagaq waat faaue
yagaifiarat wenadtaianaacaeaad cfd + gq aatfanad |
3B, autta taae: | urmat fe waaal aaquatatafa
qatar |
6A, Afoar an aif wanna saa
afta afaadisea(at) afaarafa: at faat afaat wfa faat aa-
Yeaalaaray yatd ..., ete., etc.
4848.
3570. The Same.
Substance, country-made paper. 18x83 inches. Folia, 24. Lines, 7
on a page. Character, Bengali of the eighteenth century. Appearance,
fresh.
A fragment containing commentaries on the second
ullasa and a portion of the third.
It begins abruptly :—
aaa Tayeqey fre agenat: We-
sapiefe aaa ATs aat: yaimaaranefaunrge fa at
afcaraqarata Ramee |
(The beginning of the second ullasa).
Colophon :—
22R, sta Statamuafachad canara fadiaiamcagarm
CATR: |
‘
4844.
9605. HTAARTUSTELUSAT |
Kavya-prakasodaharana-candrika.
By Vaidya-natha, the son of Rama Bhatta.
Substance, country-made paper. 10x44 inches. Folia, 84. Lines,
23 ona page. Extent in Slokas, 6,384. Character, Niagara. Date, Samvat
1742. Appearance, old. Complete. Written in an extremely small hand.
It explains the examples of Kavya-prakaSa. .Com-
posed in 1740.
Beginning :—
Sige | etree ta |
faauayqeiog fat at wetrat
ane fagq (faim) ATHTE AAT HATA 1g I
UPigitaadifassnaAsatse: aaa |
astmanancat aafa saatufasinfa | 2 |
aera eee AAT AAATART: |
wal wafa faeatai ea atqat VF | 3 |
Sa_HAgIasy fa fanae
farquyeataers WaTAATa |
qsatfaagua factera
TUfsatSelagqnarsy Bat ATT StH | 8 Il
WlITa we ATARI ACLU TSA AATSATY
Fa VATMAI SA Secu |
FaTAal VIIU Baratad Zarate |
afar Fqataa cANsTAAAAT | <I
afater aurafg: atgfaafanfaea: | |
qaeatanas: faa ufeuhaat 9) Rare |
\
|
;
}
( 422 )
End :—
arena faa feqatiaaas day fant
aequ-fatifuat faqua nates |
Verecua aa aaa He ifear-
qerecuufeat waa Faarataai |
fareegfaanfufaase (1080) aifaa fea |
wreantad aay daarentsaqerd i 2 |
Colophon -—
afa Shracearaayata fsa ea Te h-aal-
fagaugiasa-stiuraugeateagat Faatta = facfrarai
MATRA TSCM FTAA SLU AHASTAT | TMATATE:
The note of the scribe :—
Staafraaare | quAE aye | TA
fafsafaeafaste-famas ese zat
THUR UI TOBY WHA |
4845.
8993. The Same.
Substance, country-made paper. 10}4x4% inches. Folia, 93. Lines,
14 on a page. Extent in Slokas, 4,200. Character, Nagara. Old. In-
complete.
Incomplete, in 93 leaves. -
This explains the examples of atqyaTy |
It begins thus :—
frsaygeing fart aad eta? |
CHATS TaEHATARTR anita quead Heri
I Wigitwaetfrrsaaaatac: sad
aginananca: aafa anatufasafa | 2 |
( 423 )
fataaaal qr: Baretta zurafa
Ca FIAT CIA VTRAATAAAT |
The present incomplete MS. runs up to the following
sloka-udaharana of the Alamkara-chapter :—
QCA SMUIL ARAL AA-FEFUTTTA |
urfa aatraim: facarataafraatarn:
4846.
2318. wlaat<eat | Kavi-nandika.
( HTIYARTULTAT ) | Kavya-prakasa-tika.
By Ramakrsna.
For the manuscript and the work see L. 4123.
In L. 4123 it is erroneously stated to be a comment-
ary on Kavya-prakasa-tika.
4847.
546. RreMaArMatar Acaifyet |
Sarabodhini, a commentary on Kavya-prakasa.
By Srivatsalatichana Bhattacarya, son of Visnu
Bhatlacarya.
For the manuscript see L. 1432.
The MS. ends with the commentary on the Rasa-
bhasa-karika of the fourth ullasa.
In leaf 8A :—
xfa sft frag raerga-slaaarerrg aaa aIx-
faatfurait vaAtare: |
( 424 )
4848,
¢ — 7 2
4154A. ATUDATHS HATH | Kavya-prakasa-darganam.
A commentary on Kavya-prakdasa.
i,
Substance, Ka3miri paper. 10x7 inches. Folia, 29 to 43 and 63 to
127. Lines, 23 on a page. Character, KaSmiri. Appearance, old and
discoloured.
In the leaf marked 29 (the first of this fragment) the
commentary is found to be relating to the 4th ullasa, on
the texts printed in p. 166 of the Nirnaya-sagara edition
of Bombay.
42A, TRIM WAY Sara: |
In the 43rd leaf, after which there is a gvap (44 to 62
leaves), the commentary comes to the portion of the 5th
ullasa, printed in p. 237 of the abovementioned printed
edition ; and on the 63rd leaf the text being commented
upon is found to be of the 7th ullasa, printed in p. 467 of
the said edition. It comes an end in leaf 120:—
ata TaqVRTSL a MAA Tare: |
The 8th is incomplete at the end, coming up to p. 585
of the printed edition.
There are 17 stray leaves, one of which contains the
colophon of the commentary of the 7th ullasa. They
apparently belong to some other manuscript.
If.
Substance, Kasmiri paper. 7x7 inches. Folia, 1 to 15 and 1 to
86. Lines, 16 on a page. Character, KaSmiri. Appearance, old and
discoloured.
A. 1 to 22, containing the commentary on the 8th
ullasa.
_
B. It begins with the 9th ullasa, which comes to
an end in leaf 20 :—
xfa STRIATE Wey at ala aaa
Barta: |
The 10th ullaisa is not complete but it comes very
near to the end.
There are three stray leaves of equal measure, one of
which contains the colophon of the commentary on the
9th ullasa.
4849.
2495. ATATAAAT Sat | AKavyamrta-tarangini.
For the manuscript and the work see L. 2674.
The work is a hostile criticism on the Kavya-prakasa
of Mammata Bhatta. The MS. is incomplete and goes
from the beginning to the Gramyata-dosa of the 7th
book.
4850.
; |
1407. SeaRTCAaAAy | Alamkara-sarva-svan.
By Rucaka or Ruyyaka.
Substance, country-made paper. 10x7inches. Folia, 83. Lines, 12
on & page. Extent in Slokas, 1,620. Character, modern Kasmiri. Ap-
pearance, tolerable. Complete.
For a description of the work see L. 3015, Oxf., p. 210,
which also gives authorities quoted and Burnell, p. 544A,
in which the author is named as Kasmira sandhi-vigra-
hika Mankhaka. |
This is a vrtti commentary on Rucaka’s own stitras
on alamkara, which are incorporated in the work. For
instance in 10B, line 2, the following siitra with its com-
mentary is to be found.
54
|
|
( 426 )
faaae afewmarae wee: (aaaq)! (Comm.) ategrara
BR xaq fare: gadist afgfaaa auna: afew |
4851.
1550. Whe Same.
Substance, Kasmiri paper. 10x7 inches. Folia, 37. Lines, 24 on a
page. Character, Kaé3miri. Appearance, tolerable. Incomplete at the
end.
Often noticed and printed in Kavya-mala No. 35.
Ruyyaka was the guru of Mankha who wrote Sri-kantha-
carita between 1135 and 1145 A.D. See Biihler’s Kasmira
report, p. 51.
4852.
1827. TART TET A | Alamkérodaharanam.
By Jayadratha.
For the manuscript and the work see L. 2442, and
for the age of the author see Biihler’s KaSmira Report,
p. 68.
4853 and 4854.
1551A, & 1551B. The Same.
Substance, Kasmiri paper. 10x64 inches. Folia, 6. Lines, 24 ona
page. Extent in slokas, 216. Character, Kasmiri. Appearance, tolerable.
This number contains two works: (1) entitled weard-
araretaate: by Mammatiacarya, (2) wezaatat by Rajanaka
Rupyaka.
(1) wearigraefaate: | Ends in leaf 5B.
Begins :—
a xe Vaaearat wratarars ult jarenea, aa fawar-
waa WaT una, frarsy werfeaay faaat
meta | Ws arava fagtau Paar aqua RTLA-
aid RATT Bore faarfeweenfaurat aTATT ARTE ZEF
aaa Weare vacufacaweaa |
‘
( 427 )
aquica weotenn cifad a gee ufa fawuage
yevaa | | “onfa: fat ge: aa, aventst: afar: ”
sviaapre weaniafartarad weaATET TF )
weetsy ufameafa aa afaa: aafaa: waframet a
eisd: yatquenrang as frearfranreg ane zfs aftEt ;
qTanshraatsd: carers sifafeanf | ew cafe vate |
frafafana afata aman wire aaxa:
ad + ura xf wh waa carta waniat aT
|
:
:
gaisifefa WT WeATAqaTaaa BPA |
Kind :—
waararat saa: sfauarat fe argt saufwTa-
taf aqeaatat vatfa: aa fretd wart afa fae- |
ahrutaaeraaraetaia wart Taare fata :
Goafcafafa qataetatata fae |
5B. Colophon :— i
sfa fafaafaufaaa-aHahl-stosaaReraafas
faa: wegmefaate: SATA: |
This appears to be a short treatise on the three vrttes
of a word by Mammata, the author of Kavya-prakasa
and its vrtti-commentary. Here the author says that the
subject matter of his treatise has been expatiated upon
elsewhere. That elsewhere means the 5th chapter of
Kavya-prakaga in which the Vyafjana or the implication
of words is treated of in full.
See Biihler’s Kasmira Report, p. 68 and Extr.
No. 263, p. Cxxxill.
(2) wezaattat by Rupyaka or Rucaka. Begins in
leaf 5B.
( 428 )
Beginning :—
ay ageaata faa |
Saat waautearareewaa Aweaeiamfemattate: |
qactgqeat 8 ZequaaAcsitfaanaty: | Ws
Whritaattaat AAT TAT: |
ey am gat an arfa(f)a faarfaat |
way aaa Eat Atanas Zaat yar: |
AIA Vareaqrey way | wtcarfeahfateyt se: | araaAT-
au tfagenta: oar) sarfe
Col. in leaf 6A :—
sft aimaaamafactrar ageaeataral yaa:
Waa: |
Col. in leaf 6B :—
ata aecatiarat saatctaat fata: |
Col. in leaf 6B :—
omtfaataaedta: |
Col. in leaf 6B :-—
aft shoenagauafacfaatrat wecatterat uf
RIaaaTE: |
qaTHa Baca ar] |
fa 0 Strafeufaqcomnaafacaras—sataeraanttea-
BATAAN -F ATA AHMAR BC ATARAATRUTATAT
AAR LAG GAA: |
This is a second work, hitherto unknown, by Rupyaka,
the author of Alamkara-sarva-sva. This also disposes
of the spelling of the author’s name on which so much
has been said in the KaSmira Report. It is either Rupyaka
or Rucaka.
“SS
7
( 429 )
4855.
1553. DATRITLATAT: | Alamkara-ratnakarah.
By Sobha-kara Mitra.
Substance, WaSmiri paper. 10x63 inches. Folia, 72. Lines, 30 ona
page. xtent in Slokas, 3,200. Character, medieval KaSmiri. Appear-
ance, old. Complete.
The manuscript appears to be noticed by Biihler in
his KaSmira Report Extr. No. 228, p. exxviii, as the scribe
appears to be the same.
Biihler thinks that it is a work later than Vimarsini,
Jaya-ratha’s commentary on Alamkara-sarva-sva by
Rup-yaka. IJ<asmira Report, p. 68.
4856.
921. PARATA ASTM ate eateaa |
Alamkara-rainakarodaharana-sannibaddha-devi-stotram.
For the manuscript see L. 1822.
Sobhakara Mitra, son of Trayi8vara Mitra, wrote
sitras on Figures of speech numbering 107. YasSaskara
of KaSniira composed a hymn to the Devi, each verse of
which illustrated a stitra; and Ratna-kantha explained
how a verse of the hymn illustrated a sttra. ,
After sfantactfa as quoted in L. 1822 staatactaatas-
quracasfactaasagmeaat «wat, Then aaqaariue
GARHITTATS | |
The manuscript contains works of all the three
authors (1) Stitra, (2) Stuti and (3) Udaharana-samanvaya.
The 108th verse of YaSaskara is this :—
Tqag wae aa frfest stattargae
AGl Aa aTSAp Aya Aral aleqagyat |
( 430 )
an 4 yaatioet wefafe aa: Hest aa:
fags ut aeax(’)afarera ateifafa |
4357.
4754. SSHRC | Candra-kartika.
By Simhalacarya, Sri Ratna-sri-jrana.
Substance, palm-leaf. 11x2inches. Folia, 14 (by counting). Lines,
5, 6 on a page. Extent in slokas, 290. Character Newari of the four-
teenth century. Appearance, old and very much damaged. The right
hand side containing the leaf marks is corroded.
Beginning :—
a wa: frat |
faaRgaAaaraearafaeaureage |
Tal wager fates aati |
aifa: faa gat aay vat arafa weet |
Teegrecat + + are faraa 1
wat fe sfamgqeara watafata afget |
WIM acKatq wftxagqadd | | Tate |
Hnd :—
saate a aaa ua cata | “a
wurtcata faatta dazeta faut vz |
RUITAAST! |
aaa Araya aziew
qaisieyq qeneiteaa |
7 AMAT AAA aM
ufvene qagaag Nya |
waMIMAM TAS HAS
a afa at aqraea ataq |
faatatTawAata BTR
ad et WReTatargqars: |
(.4al ) }
WSTTSANATS VIR
atraaqaaaufats: | (2)
aqate a + + waft ayaa
qautyary: waa fea aq
euaaate FT WREaAaT |
TAS Beara |
aaqe aafeeata wat
wrearfeaatura we + | |
aiafaaifaunattearara /
araraatue a sttaaaq | |
aeearaefa genta - |
wag Hata aq I
aqua, erg ea ,
weritantfata frat 1 (?) |
+ 44+ 4 uta Ata | ;
|
wEteamateant fer |
aa facratcanis faye
URAL! TTA ATTA |
qfagai we ATAU:
Hug xat: faaat + wad |
mega FT eqeaq
aaraaTyeasta farsa |
MI WIAAAARTAAT |
fautqata: ufantatae: 1
afew faafa uw uimaatfa at + +
a(ieafaaqaurastfaata fra |
yfuteafeagts: aanerian-
ufaaaquaaa aetigq aa ata tt (?)
asaiftat watat! atafea fawaraerniza
STATA |
( 4382 )
4A857A.
4334. qUTATHT: | Varna-ratnikarah.
By Jyotirisvara Kavisekhara.
Substance, palm-leaf. 15x24 inches. Folia, two leaves without
marks and 13 to 79 of which the following leaves are missing: 14, 15, 17,
19, 20, 26, 27, 51, 58, 59. Character, Bengali of the fourteenth century,
when there was no difference between Bengali and Maithila. Appear-
ance, old, discoloured and damaged. Incomplete both ends.
13A, xf afsit@cradstentfatiacfactaa aaicaat ATX
qMaY aT yaa: Het; 21B, oatfaatamat ata feato: wate ;
334, mraaqwat ata edta: Hate: , 42B, owqamat ata way
eta; SSA, oyaamauat ara aye: wate; 61B, ovgrfeamat
TH 48: wete:; 69B, ommaamat ata ana: aweate:; 70B,
ASW AAG aaraa | facia afaua fafaaqate afar |
77B, aagictyafett qefeutaaewat med
adfasntfayaagd carnet fafa |
wag VEY (?) yaatqetasey RA:
nie: Safatucy afrai aaa aetaaa (7)
SF TAT Aca || we Bec aTaaate arat <at atfx THA
aduatunctitaad weitfa | Se Scatenfuatagra za |
67A, atcret fasaaat | | |
q atrata, 2 WaT, 3 atefyata, 8 aTaTelars, y aft,
€, wfaut, 9, HzIfxaT, <, styuT, ¢, atfxut, ro, fauat, 2, WaTat,
CR RATE, ARQ WI, U8 RAGA, wy Aaa, ._¢ Tea, 79 Alaa, ws
Atat, Le ATA, Ro StH, Re ATW, RV ATTTAHA, RB teil, 2s firsts,
Ru atufa, xf aaa, 29 + + 4+ Bua, x= wert, re urafa,
Ro gat, 88 Tal, az UI, 8B Wea, a8 HAT, By ALAq a¢ WH
UT, 39 GagaA, a = ulafaur, se utfafew, eo ug, 3 att, 82
frea, 8a wax, a8 aria, oy waEfs, e¢ dam, so wel, es aT,
j
( 433 )
Be WATT, wo AUT, Ye RATE, ata, YR atarax, U8 fafxax,
uy ataTat, u¢ atmaifa, wo + fangs, us ares, ve fafafarrs, ¢o
ames, <¢ ahaa, ¢2 fafaa, ¢3 Fag, do area, €y aaa, ¢¢ AtAT.
¢o uifea, €o yaa, €¢ WAT, Oo ARTY, Or fafta, ox atfa,
93 UTA, 98 Axa, Oy UR, O€ VAST, oo YaRel, Wace fast: (?)
In the second leat without any leaf mark, we have
the following enumeration of castes :—
amt, atat, amet, weet, uqar, User, wafeat, qeactar
aviz, meu, afefa, wat wefa Asstafeartea wea qanwes
faa aaH, eta, Stat, Sasi, sae, ulafa, afar, aaata, fear,
ay, BHA, atal, ufea, Sig, a5 awa afmar, satfe, facet fa,
face, 2ya-aut, faa, fafaat, Sure, sAaU, WENT, BRAT, VTA,
atcnatat, arat, Awa, asat, fran, Caasy, aTaG, dina, auf,
awit, atfa faax qfeat, GaN, GRACIA PRTG, HIF WAT, UTAH,
wan, yfasn, ufaare, ara, ataerea, wif, ware, etfs, af ua
Wee WATE mie, wet, wife, Ahex, mary, ats Afe, ars,
ugnale, Vefast ufere, utfa, quate, Tee, Hlea, ate wea
WeaTatTa ATs |
4858.
2843. arfeaeuue | Sahitya-darpana.
By Visva-natha.
Substance, foolscap paper. 15x44 inches. Folia, 69. Lines, 13 on
apage. Character, modern Bengali. Appearance, discoloured and dilapi-
dated. Complete.
4859.
383. The Same.
Substance, country-made paper. 15x24 inches. Folia, 169. Lines,
5 on a page. Extent in Slokas, 3,380. Character, Bengali. Date, Saka
1659. Appearance, old. Complete.
a5)
- —
( 434 )
The Post Colophon Statement :—
seat eae stasis Genter
WA WARTS edue BraTsaray curt fafaatsa
TY: |
Teammate (1659) wes satires |
imeataziat 4 atfeaeua et |
Ulataya AUarat aa ates | |
faa fazuamtat fattarataat aa: |
spatial AAT AA! |
48594.
8157. ATHAHES: | Kama-samiahah.
By Ananta.
Substance, country-made paper. 936 inches. Folia, 33. Lines, 18
ona page, Extent in Slokas, 1,400. Character, Nagara of the eighteenth
century. Appearance, old and repaired. Very nearly complete.
The Mangalacarana of the work :—
SIMI TA) =laceaa 7a: |
aettl HAAS ara HIVaAN fea | aa wafas-
aaa CATS :—
aaAnyatay Saya Saqarty:
ARIANA a asaa STH aS |
aferamse: Aaa fae:
a safa feu HAATSISAT |
Fat Yara Hekzarat aatnarat afsafaaraz |
aut: qa farcat wad AT wi<at a: faratataata |
WATE aT ACeATecat at a ysrafa |
a yata faatfaat catat Maat | oe
( 435 )
Way qed teat qulela HSS Gary fae Gavan: |
Wa ze Bafsyata farsa RASTA |
The author :—
yum watat fanaa + EAqat |
Raa HeTarauaan feed fear |
wat a ufaat aA Malt latquatfeat |
yfaere TTqat Jarers TAG 1
aT USqaMA | TH TARA I
B, xfa ftasaacis | erat wtat LEFT AIM 5 DA,
fa — qIaqaa Sagara -+ asergagmaay Aat ae
qa Wath; 5B, o waa s o HVT Fuamd; 6B, xfa
aaage Awauaa fawaqempMREn(a awry
wat Faaud BATH: 1ZA, o framaRelagicele (a) Awa CTATa
aat qausta: aarar(:) |
Aufrecht gives the date of the composition of the
work as Samvat 1457. See I.O. Catal. 1242.
The author is Ananta, the son of Tri-mandana, with
the title of Bhisam-mukutalamkara-harah.
ASSOB.
waTaatt | Lhkavali.
By Vidhya-dhara.
Substance, country-made paper. $}x4 inches. Folia, 98. Lines, 11
on a page. Character, Nagara of the eighteenth century. Appearance,
old, soiled and pasted. Complete.
A work on poetics on the lines of Mammata’s Kavya-
prakasa. It is divided into eight chapters, called unmesas.
Published with the commentary of Malli-natha, by
Kamala-sSanikara Prana-Saikara Trivedi, B.A., in the
Bombay Sanskrit Series, Bombay.
Last Colophon :—
sfa staat faarata wat waraatiaafa wa TTS
sapagictean aa AoA SAU! |
an: fRHacapiecarewieztrawy: |
URIARAAAA RUS WA RAAET: |
HATH AHMAR ITIGAA |
4860.
796. MSTA | Candralokah.
By Jaya-deva.
Substance, country-made paper. 133 inches. Folia 15. Lines, +
on apage. Extent in Slokas, 180. Character, Bengali. Appearance, old.
Complete. Full of marginal] notes.
A short work on the Alamkara or rhetoric.
It begins thus :—
qEquanaaMatarauTaet
gquygatafuaat urat aTaraat ea: |
AAFTLY UWAAAAM SAageA |
afaa: fara aai AAAMaADS!: || 2 |
Val 7a Aleygaaiamafa Fat |
wala wa: Hiha: qnelaanted |
Tt ends thus :—
Sq-Baqnateaaaad SATA |
aaitanrar fazat Reta AKSuIT! |
qaimataaatsa wreaa fata: |
faufaai Fe BIN AHF Ay ATF |
Post Colophon :—
fared WAM HAs AAs fautaa: |
fast aaa alhaq aifeas afm |
a
uzaaara at ufedardd faa |
4 aq WaeaaA A TA aas fa |
4861.
11203. Zhe Same.
Substance, country-made paper. 115 inches. Folia, 10. Lines,
8-10 on a page. Character, modern Nagara. Date, Saka 1637. Appear-
ance, fresh.
The portion containing arthilamkara. But the title
of Jayadeva’s complete work (Candraloka) is also com-
monly applied to this section.
For a full account of the work see I.O. Catal.
No. 1158.
Post Colophon :—
ae anfaress (¢ao) Wa qareaifaat wat
atat fafafea: sate |
4862.
10733. The Same.
By Piyiisa-varsa Jayadeva. |
Substance, country-made paper. 10x4 inches. Folia, 24. Lines, 6
onapage. Character, Nagara. Appearance, discoloured. Complete. j
Last Colophon :—
afa siitqwadufiga-aaraa fax faa aa A ATIT TE
airareeuifsart ae TAT ATE |
Post Colophon :—
vaq yxya ae onfga Gaofauet | (‘The name is
blurred over with ink). sung aaTaae fererarsra fa feat
fufaatae Gea aa yaa |
( 438 )
4863.
, 11056. The Same.
With a commentary by Pradyotana Bhattacarya.
Substance, country-made paper. 11} 5 inches. Folia, 2-30 of which
foll. 15 to 28 are missing. In tripatha form. Character, Nagara of the
nineteenth century. Appearance, fresh. Defective in the beginning and
in the middle. Date, Samvat 1866.
3B, xf waHaae: |) 7B, warate fedtat aq; 8B, xfs
eqtat aaG@: au; 9B, aqataaa:; 29A, efa BRTaTH aaAt
ATG |
Last Colophon :—
fa uizaaa-ufwsa-ataaea fac fara asreath BaHt-
SEIT ATA TWAT AAG: HATH: |
Post Colophon :—
at daq ised | utaara faa wat |
(Commentary) :—
TAS TARTS SS ATH - FARTS ATT—
wWRe aes fa ya aUR IA A-AHAI STA are aaA-UgT-
arafactaa aaiatauart wee TAT HIG: TATA |
Lt ends.:—
slaiuaysufauafae ta aaa |
THI RATS CW Mesa AMAT): I
A864.
874. The Same.
For the manuscript see L. 1784.
The text is by Jaya-deva and the commentary by
Pradyotana Bhattacarya. |
(. 489)
4865.
3198. SSTATH | Candraloka.
By Pijisa-varsa Jaya-deva, son of Mahadeva and
Sumetra.
With a commentary by Pradyotana Bhattacarya, son of
Bala-bhadra, entitled Candraloka-prakasa-saradagama.
Substance, country-made paper. 12x5 inches. Folia, 25-34. In
tripatha form. Character, Nagara of the eighteenth century. Appear-
ance, discoloured. Incomplete at the beginning.
Post Colophon :—
fafeafae arsai faataa craute fame | WHA |
For both the text and the commentary see L. 1784.
Vira-sitnha-deva, whom the commentator speaks of as
the great-grand-father of his patron Bala-bhadra and a
chief of the “* Vandyela”’ clan, seems to be that Vira
Sinha who, at the instigation of Prince Jahangir, assas-
sinated Abul Fazal in his territory, when the latter was
returning to Agra from the Deccan.
4866.
6335. @BTaTAZAT | (TATATATST)
Candraloka-tika entitled (Rakagama).
By Visvesvara Bhatta, surnamed Gaga Bhatta, son of
Dina-kara Bhatta.
Substance, country-made paper. 10x44 inches. Folia, 103 of which
the first is missing. Lines, 11 on a page. Extent in Slokas, 4,300.
Character, Nagara. Copied in Samvat 1828. Appearance, discoloured.
Last Colophon :—
xfa sitlniaaag-feaarag- ferrac ee
weHa-TTAHStATat | CIATTATeat MAT Aa! |
AATHT WR |
( 440)
Post Colophon :—
Haq USae areqaafe € Stare |
Lind :—
Text :—
VtaTaaa a WRATH AAT STA |
gattqsiaAlaig Bae faqut qq |
Commentary :—
Bataatt Aare aaa
Vext :—
aot aitya-BaA ST ea AT: |
aeaiqaqae aaeqHaTTE: |
Commentary :—
wae ulead xfa ataraca aia xfa
Taag |
qanay uy aaty a faaaata ge
AeA ay afs a qacta aa |
at farantat fraeranaa asat
FAUST Cay AARATa ese: |
4367.
9671. The Same with the tect.
Substance, country-made paper. 14x51 inches. Folia, 4. Lines,
10.on a page. Tripatha form. Character, Niagara. Appearance, fresh.
Ineomplete.
A fragment.
The text is well-known and often noticed.
( 4&0 5
The commentary begins :—
se wat Way |
afuacgafertaentuarmarguatragar
waqiwadacarat A Aae Aer war | 2 |
aaa: aaa ufifaneaty wea
yitereefea aa vafa wawety [a]
ate tat eararaveaal fears:
TNT HMA wafa TATA | |
aatferacaart mamagaatfam:
waite fazat afare wat qe | 3 |
faufantaTa wa wafaaseqaimumeyq aya fara
fra maie-aAtaat agayat AyaTA wT faTanfe |
wmwuemia sue | eats |
4868.
8523. SSTATR | Candralokah.
By Jaya-deva otherwise called Piyusa-varsa, with a commen-
tary entitled Rama by Vaidya-natha Paya-gundé.
Substance, country-made paper. 13x65 inches. Folia, 67. In tri-
patha form. Lines, 13 on a page. Character, Nagara. Old.
The text is given in the middle with the commentary
above and below it except in some, as the first page,
which is entirely devoted to the commentary. Both the
text and the commentary are complete in 67 leaves. The
chapters of the text are called Mayikha, and they are 10
in number, The slokas are numbered in a consecutive
series omitting hundreds. The text ends :—
WaTaaM THs GHTTR AATSE |
autfuraratg wae faqut az |
56
\
\ ‘
eS Se
TT ES ee SS Ug a ee SO
- sm aa eer aca aaa aaa ei
aahq aiPSanatAASlzai TAHA: |
earlaaauy auzamafas: |
HEelea: aS « > 4 x 4
x * x * x tl
x @’ watat aufasaeaa xhaz |
Tx aRiaias aefa crag: AUT |
The commentary ends :—
AeTeq ofa qaaad 2Waey] sfa faata:
“gutaraaet qafanaeaa corfu:
fe wae qeaq waaenfem” rfa wwe
uate | Colophon of the commentary. ¥fa
Saar aqaaachea werent car- |
faada emat faata: |
The commentary after the usual mangalacarana
Says :—
Tal YR Faas: uraqaefa Ried [ae] |
Qa Cara Rad wseiata faarfaat )
4869.
5825. The Same.
Substance, country-made paper. 11x65 inches. Folia, 72. In tri-
patha form. Character, Nagara of the nineteenth century. Appearance,
fresh. Complete.
The commentary begins :—
STAAL TA: |
zara Gata ctrarea
RUA AIHA |
LE SATAY Weary:
aafsatamy A ug Arya: |
( 448 )4
AGT JR Tyas: yraqueta ata: |
Great Tai aga warts faarfaay |
ay aareife-ufaaatomaaa 9 eeeaatfatcaeaar-
agae fafagaat aanquyaad safeaaat FT BTA
qvzaataefaemifzed aywaraca saeaatat aft
fuafias areareataut aqarat ayaa a frayita
sufefa |
Colophon :— rt
fa Pearse sqareehas WaT TAAt
carfraa sway faare: |
Post Colophon :—
DMARSYAT Reo YA RoR |
4870.
4.594. TARTTH TT: | Alamkara-kaustubhah.
Substance, country-made paper. 174x6 inches. Folia; 110. Lines,
14 on a page. Extent in Slokas, 6,000. Character, Bengali of the nine-
teenth century. Appearance, fresh. Complete.
A well-known treatise on rhetoric, by Kavi-karna-
pura, one of the followers of Caitanya. The work 4s in
ten chapters and the illustrative Slokas are all im praise of
Srikrsna. See L. 1662. |
The author was the son of Sivadasa Sen of Kacra-
pida. He saw Caitanya and wrote many works of the
sect during the middle of the 16th century A.D.
Last Colophon :—
FAATRARMAA sayaeat ara saa: fae: |
Post Colophon :---
SAAB UY | BATA CAUM SAMA: BIAMLY |.
( 444 )
4871.
3709. A commentary on Alamkara-kaustubha.
Substance, country-made paper. 1244 inches. Folia, 62. Lines, 12
to 15 on a page. Extent in Slokas, 2,200. Character, Bengali of the
nineteenth century in a beautiful small hand. Appearance, fresh. Com-
plete.
Kavi-karna-pira wrote a work on rhetoric, entitled
Alamkara-kaustubha, with stitras and vrttis. This is a
commentary on that work. [or a description of it see
L. 1663. Rajendralala’s manuscript was incomplete. But
this is complete in all its ten kiranas. The name of the
commentator is Loka-natha Cakra-vartti.
4372.
3908. UllSacCarTnc: | Sahitya-ratnakarah.
By Dharma Samkhyavat (?%).
Substance, country-made paper. 124%*3}inches. Folia, 79. Lines, 9
on a page. Character, Bengali of the eighteenth century. Appearance,
fresh. Incomplete at the end.
For the beginning of the work see H.P.R. Vol. HU,
246.
Colophons :—
«ASB, xfa Stagatafaaefea(?) wtaade aarfa amagracyara-
aigat « weaTaaaaarerareudtarsttarstongra_astaatanfaeaaes-
wag | stteararacaracutfesntaa «= fatraracuaa «= WqeNT-
fagtfagamaat oumeeraat |= faxed |= Sttanaqefawa-aataa-
Wage Meat AVIF RI DTA a jadi Aa
way: ; 1OB, sfa Slum facha alfeacaacaaa-
AFUE adameiuatafaan ata fedtaacsy:; 32A, zfa
sliwadenqa mma ama (f)eatawey:; 35A, zfa
.
--
( 445)
SrraRaQaa o FARTS freua aa aqdeacgy: ; 38B, xfa slag
faygaau fase antarad wate aacuatadtaqat «= uae fx-
aqat aaaaafasiaaal waeeqnaa face Sica a ] wafaata
aiemiaMiaAgagiUs ufeqm awa weawey:; 428,
sfa statagqara fas efcantaaadaarermanta WagqaHAcyatayrgat
aaaAa asada weedeat fates staxarfaqaamaiata
alfeat aaa Mas AUS Welapitreqa aa weeace:; THA.
sfa afeacaIaeaAlaP Ie STaP fay aa SHARTE: |
The 8th taranga is incomplete. We are told by
Mahamahopadhyaya Pandita Sadasiva Misra that this
has been printed at Vamra, under the patronage of the
Raja, the work being very popular with the Udiya
Pandits.
The author is Dharma, an expert in all the fourteen
branches of Sanskrit learning. His father was Parvatesa
proficient in all the six systems of Philosophy. This is an
original work in which all the examples have been culled
from the accounts of Rama.
4378.
5154. The Same.
Substance, palm-leaf. 14}x14 inches. Folia, 123, of which the 2nd,
38rd, 10th, llth, 66th, 77th, 86th, 101st, 121lst are missing, while the num-
bers 91 and 111, mark two leaves each, Lines, 4 on a page. Extent in
Slokas, 3,400.° Character, Udiya of the seventeenth century. Appearance,
very old.
To the end of the 10th taranga.
This is a new work on poetics, of which only one
incomplete MS. with five tarangas was known to Aufrecht
and that was noticed in H.P.R., Vol. IT, 246.
SB, waa + +aaaygaafated areata 3:
WHAT AIHA (?) RATHI va AMY vrwgqa |
( 446 )
qgapTAMeadfactawan aAcafeung:
agiagiard carfaated WiifeHtsa ITF I
AY AHlaaah CAAA AAATOATS |
I7A, fa atfemcamt fadtaery: we areaaTedfied
aaa aqaaal ayaa aoa eufaqaasiaT WS ATARI
Wed wee freqafa |
26B, saiaio st ZatawMaes: |
ata stafeacarat AAMT TAU TS HRA TE F:
areqatetfafect, etc. |
aa fata aaa was wea arefaatarat aw
qAqnIaAIAa RAITHATA Baa freuata |
31A, wate Fa Zauary:
argintectafent, etc. aa AYUIAKaA AAT Ztuafeiat
sfa RIgQaAIaaaa wereatfa taaar yatta Wea fawfoetate |
B5A, UFAT AA oUBHTSa aay:
aiatectafent, etc. waar fawud |
40A, SATA AE Say: | Aeacy:
aTgHarex, ete. saratagiare freufaasq areaqat aaa |
SIA, -waTaatfaratartafcafaacat aractarqetar
ATA AIaMauta vsafa ayfaad FaRUrat Ayla |
ais dissatt aqhaaanaseaer WRT a
acy Acard PENITTs Argar agar |
UdaTadaita, etc., etc. anatsa acy: |
BiwiaAtae, ete.
ate TAMA Baise cyatsartafa fatuw|
QATAR |
87A, warPaatfa, ete., ete. aeAatse ace: | a
Biewaiatex, etc.
vq RAVAAyAa waters afeyaa |
98B, saraatfu, etc.
MA RSlant asICMYRAR ABASMIaA aQlAFeUe
fawata aaaT cIAaT acy! |
amiater, ete.
aq Wyaa aves ageyg fawy gyal ay. wwaasaM ta
feufaqaiat sae iagqas a catia |
14 nda —
aiatectatecuufaat tay cams-
waAVUFKAcHeKureatsaaatad Als |
ate Starman fea areteraneartatt
yar: RUA fared aifeacaTAe |
qs RIT SHAM: FarnqIsy |
qratattaaayaatafeatgayiqaataat
sist arvefaaa aafa aal gai VaR Hat |
HMAC AMTYA QPIIM Wal wT frrqaa
aaa TARA CHAT Cla: S Va |
Wt ara: afaa fed aa aa: fafeaq watauga
SAR AqUaIaaat HUSA AT RIT |
HL Aa LALA Ta Aaa Tae Ca
at at faxaa(?) mreayatataaraarirarat 43g
agqiat efaraa acta a Sa eat
aut cura qaraTA ATA aaa |
wafer aartfaut fachaa: aqAAAT ATE UT
ata arafeataa fanazat aiteacatne: |
aat 2a WaTAal
( 448 ) | .
487A.
3035. fasaatawrar | Cittra-mimamsa.
Substance, country-made paper. 11}*45 inches. Folia, 52. Lines,
12 on a page. Extent in Slokas, 1,900. Character, Nagara of the eight-
eenth century. Appearance, discoloured. Complete.
An anonymous manual of rhetoric. For a full des-
cription of the work see I.O. Catal. No. 1172.
4875.
9934. The Same.
Substance, country-rnade paper. 1044 inches. Folia, 45. Lines, 10,
llonapage. Extent in Slokas, 1,850. Character, Nagara. Date, Samvat
1666. Appearance, discoloured. Complete.
The date of the manuscript is Samvat 1666=1610
A.D.
DM wue | daq 7ddd, HHA Aaa SATA
See I.O. Catal. No. 1172.
4876.
2723. The Same.
Substance, country-made paper. 11x4? inches. Folia, 34. Lines,
10 on a page. Character, Nagara. Appearance, fresh.
For the work see I.O. Catal. No. 1172. It is a manual
of rhetoric. This manuscript is incomplete. After the
end of Ripaka-prakarana, it has two leaves only.
Kggeling says, in his 1.0. Catal., it is by an unknown
author. But Aufrecht gives the author’s name as Ap-
paya Diksita.
There is kept a stray leaf with this MS.
( 449 )
48377.
9729, The Same.
Substance, country-made paper. 12x53 inches. Folia, 14. Lines,
12 on a page. Extent in Slokas, 480. Character, Nagara. Appearance,
tolerable Incomplete.
This is a work on rhetoric. The MS. is incomplete,
and the author’s name can not be ascertained.
Beginning :—
ee Stair wa | Sheree aa: | Shpeeat aa! |
afi tiwag wetad a atta: |
faaatfa fauafauay fawerafas fasataiat i
ffayaraq aa wfaqgutyaggifaateta | wa
qatfanitaagi a tata: |
Tats Fat: AM UME arfsarser:
wataratqa a frara gaat: |
qaaly ve eafaatr yt
fata atte waatetaeea:. |
Hq aga tat tutufe fanaa sua fareat feareutaqaaat
Sat qaratratagafagmen fafaersantetafe fauata we-
LACK | waaATA Sat yrattagita afafear waryaear ysqa | arte |
A378.
3146. PEATATATTST IAAT |
Crttra-mimamsa-gudhartha-prakastka.
by Bala-krsna Payagunde.
For the MS. and the work see L. 4097.
The Post Colophon Statement :—
WAT (S8o TART V3. |
57
|
|
|
}
( 450 )
4879.
9000. RAMI A: | Kuvalayanandah.
By Appaya Diksita.
Substance, country-made paper. 114} inches. Folia, 51. Lines,
10 on a page. Extent in Slokas, 1,000. Character, Nagara. Old. In-
complete.
(1) Incomplete. Leaves from I to dl, with valuable
marginal notes.
(2) Another incomplete copy with a commentary
from the 68th karika. Forty-two leaves.
Substance, country-made paper. 9x4 inches. Folia, 42.
on a page. Extent in Slokas, 850. Character, Nagara. Fresh. Incom-
Lines, 10
plete.
ASSO.
8547. The Same.
\
Substance, country-made paper. 10x 4 inches. Folia, 38. Lines, 16
on a page. Extent in Slokas, 2,500. Character, Nagara. Date, Samvat
1721. Appearance, old and fresh. Complete.
Written in Jaina Devanagari in Samvat 1721.
qfaea ty Stwifafaaaniatres afaHactaHas HAS (OX
Aq AMAULATE |
He FRIVTAaHaALteas taal |
faaimieserafaritanattas: |
qaiatant faaad WeeTMAaAala: |
SU FATA AMY ATIATTHST ||
The Last Colophon :—- ;
ata Aaedafraras Aes aqgasata te ae
lrgaerateazaniemaitady «aft || Hae
are CATH |
§
( 451 )
The first leaf of this manuscript was fragile with age
and so another piece of paper has been pasted behind it
to protect it from destruction. On that piece of paper is
written first five lines of a work on Sankhya :—
vated gee ae ufura gated |
peta: aig wast Har
4881.
S548. The Same.
Substance, country-made paper. 103x5% inches. Folia, 24. Lines,
10 on @ page. Extent in Slokas, 700. Character, Niagara. Appearance,
fresh.
4882.
9140. Whe Same.
Substance, country-made paper. 106 inches. Folia, 57. Lines, 10
on a page. [Extent in Slokas, 600. Character, Nagara. Appearance,
tolerable. Written in a large legible hand. Incomplete.
A383.
9141. Whe Same.
Substance, country-made paper. 115 inehes. Folia, 10 (26-35).
Lines, 11 on a page. Extent in Slokas, 270. Character, Nagara. Ap-
pearance, tolerable.
A fragment of the preceding work, with #. 4. 7°. on
the left hand margin.
4884.
9139. Vhe Same.
Substance, country-made paper. 11x65 inches. Folia, 48. lines, 9
on @ page. Extent in Slokas, 550. Character, Nagara. Appearance,
tolerable. Incomplete.
Frequently printed in India.
See [.0. Vol. ITI, p. 335A. No. 1161.
4885.
9391. The Same.
ll x5 inches. Folia, 43. Lines, 12
Substance, country-made paper.
Appearance,
on @ page. Iixtent in Slokas, 1,290. Character, Nagara.
old.
It is an incomplete MS. of qaaarae a well-known
work on rhetoric, by Appaya Diksita.
4886.
9357. The Same.
Substance, country-made paper. 944 inches.
on @ page. Iixtent in Slokas, 220. Character, Nagara.
Folia, IL. Lines, 10
Appearance,
tolerable. Complete.
A well-known work on rhetoric, based on the Candra-
loka of Jayadeva.
4837,
8556. The Same.
Substance, country-made paper. 115 inches. Folia,
10-12 on a page. Extent in Slokas, 1,000. Character, Nagara. Date,.
Samvat 1889. Appearance, fresh.
Incomplete from leaf 26 to 75, copied in Samvat 1889
by ASananda for the use of SadaSiva.
4888.
0836. The Same (here called).
+
AMWAAUTAAS: | Laksya-laksana-samgrahah.
Folia, 29. Lines, 10:
50. Laines,.
Substance, country-made paper. 91 x 4 inches.
Character, Nagara of the nineteenth century. Appearance,.
on a page.
fresh. Incomplete at the end.
Mangalacarana :—
Pasay aa | wWaerSuca~eay wa: |
HHA HAL ALAA ASA |
ettaig ged Meco |
y
( 453 )
wea aaa faayceaqay |
yay atarfeadt ost staraat aa |
Sqry WAATT WAAR
safari sarehaepr |
a petafaced uftqaeu:
aa: a F feaq weafaat qaqa |
Lhe object of the work :—
HAFTLY FAA Ha Seafaas |
atua: faad dat waAUEy®P: |}
Sat WHITH Sw AAIAAUMATTHT WTA |
Waa wa Gafaaturafuaar face |
4889.
9699. (FAMATASAIA) AARC |
Kuvalayananda-tika entitled Alamkara-sudha.
By Nagesa Bhatta.
Substance, country-made paper. 10x 4hinches. Folia, 77. Lines, 19,
21 on a page. Extent in Slokas, 6,000. Character, Nagara of the nine-
teenth century. Appearance, old. Complete. Written in a very small
hand.
The commentary begins :—
BTU TA:
Safsaqayny RFCS UTA |
Bway Ala HAZ aur faataaa l
aTaataT RAL CCH AwATTATT |
VFITETAl MIATA sas faa: |
SULYTAMAATAT ATAMAZ UAT aatfa Jal |
HAIFA ATA BT FaUITAwaeE |
Ot tS I seit en
( 454 )
Colophon :—
fa 0 _ stacurgrataraa-aannrafarageaatty
faxfaat sraxieqat ufcgat |
4890.
9001. SerRrcatexar (HaMaTAeetH) |
Alankara-Candrika a commentary on Kuvalayananda.
By Vaidya-natha.
Substance, country-rnade paper. 115 inches. Folia, 69. Lines, 15
on @ page. Extent in Slokas, 2,000. Character, Nagara. Old. Fresh.
Complete.
Complete in 69 leaves.
See I.0. Catal. 1168 to 1171.
The colophon runs thus :—
afa sata Uta TAA UW S-ATSATA AR AHF GATT
AMA Mas Kawaraetat Bat | BAe |
fafare |
4391.
8549. The Same.
Substance, country-made paper. 10465 inches. Folia, 11. Lines,
ll on a page. Extent in Slokas, 330. Character, Nagara. Appearance,
fresh.
A commentary on Kuvalayananda. Incomplete.
Beginning :
airs aa seats aa |
aqtamy aemal weatwaatrat |
Ga FAVA CACAG ASA |
faatfeafanfasst cetaat wif watt |
( 455 )
4392.
2933. The Same.
Substance, country-made paper. 124x5 inches. Folia, 32. Lines, 8,
Qona page. Character, Nagara of the nineteenth century. Appearance,
fresh. A fragment.
See 1.0. Catal. No. 1168.
The commentary has, often, been printed along with
the text.
43983.
10861. he Same.
Substance, country-made paper. 13x 5 inches. Folia, 70.. Lines, 10
on a page. Character, modern Nagara. Appearance, fresh. Incom-
plete at the end.
Beginning :— 7
SINMVTT 7A: |
gq ae wfotaaleai |
Hea RATA CATAF IL AAT |
faatfearfaufesa eezaat wife “aaa” |
8B, xfa stauqafeane-aange feaseaga arreag fae haar
(aT aap RSs RITA TATALG TATKATAT |
It ends in the discussion of Vyaja-stuti.
4894.
$551. FAAATASTTATTHTCAT |
Kuvalayanandanusara-karika.
Substance, country-made paper. 104 inches. Folia, 18. Lines,
5-6-7 on a page. Extent in Slokas, 216. Character, Nagara. Date,
Samvat 1811, Appearance, fresh.
aaqq wry WTA ego BIT afe x2 qa Wala-
aay fated aa Haaeaeae ay frad 34 |
The Last Colophon :—
aft FAMATTAqaeaAfeR AAT FAAS |
It begins :-—
ay weiatat faawat ?
4895.
3147. ARITA aA: or FIMITARGISAA |
Alamkara-sara-sthitih or Kuval ayananda-khandanam.
By Bhima Sena.
For the MS. and the work see L. 4084.
Lhe Post Colophon Statement :—
The work was written during the reign of Ajita Simha
of Jodhapura.
aaq (sud afin aaa 02 fated Fafaq years |
weq uaa ue aa aq factaat: |
aa wang afaat at afeeauMrag |
4896.
555. Phe Same.
based on the expositions of Deva-natha Tarka-pancanana,
Maha-mahopadhyaya Govinda, Jaya-rama Nyaya-pan-
cananda and others.
For the manuscript, see L. 1447.
The second verse of the work :—
WAR FRITIASASZASyAS THAT: |
yay faqarasta « usaf faufaa: | 2 |
aa FATA Pahrad GOA |
THHSCAFIAT Ward WaAat FB |} 3 |
|
- ~~,
Caer 4
There is no iti before =t@aarz asin L. The portion
given there as colophon is a part of the text.
4897,
¢ , . =< .
1301. saatfaaa | Vrtti-vartitham.
N
by Appaya-Diksita.
Substance, country-made paper. 114x5} inches. Folia, 16. Lines,
12 on a page. Extent in Slokas, 450. Character, Nagara. Appearance,
old. Complete in two chapters.
An argumentative treatise on the threefold import
of words viz. Abhidha, Laksan&é and Vyakti as accepted
by rhetoricians illustrated by apt examples. The present
MS. contains two chapters devoted respectively to Abhidha
and Laksana.
Beginning : —
STM aa | Aaa aa | BTTARAT
fusacargt wa: |
faq uataaant Baeaaarareaas: |
qaafed weg fifequinral acaat vata ed |
Tua: Rl_AcaTanHregagayfa: |
afaqu-aaa-gtatefa feat frefaat: | 8 I
as atard ataqefa tar 4 wAeTHAT |
facafaquatts: faaad afaatiaa | 2 Il
aa vag ufauieaaatuut at fafeur) efe ait atretes |
Tt ends :—
a Ja wala faaafanfoocarmmityacuwuaaate-
arerg as Aeudlaga waaarg atsete aera za
a wifsfa aera | RST |
Colophon :—
sta afaatfah samtafafsata: ufesse: |
58
( 468 )
Post Colophon :—
| FHAHeT |
4AB97A.
1796. The Same.
Substance, country-made paper. 843} inches. Folia, 15. Lines,
ll ona page. Character, Nagara. Appearance, tolerable.
It is a work on the imports of words. ‘The present
MS. contains the first two chapters only, Abhidha and
Lakgsmana. Aufrecht knows also of Vyakti the third
part. But the first two chapters only are printed in
Kavya-mala 36.
The Colophon of the first chapter :—
10A, xfa afaahas qeatafaaat ara waa: ufewee: |
The Last Colophon :—
rameyeifaanat shah aamefafaaat aa
facta: ufespe: |
4898.
1585. TANTFTYC: | Rasa-Gangadharah.
By Jagan-natha Pandita-raja.
Substance, country-made paper. 14x54 inches. Folia, 204. Lines,
ll ona page. Character, Nagara. Date, Samvat 1934. Extent in Slokas,
as given at the end of the manuscript, 7995. Appearance, fresh. Com-
plete.
Often noticed and printed in the Benares Sanskrit
Series 1885, with the commentary entitled Guru-marmma-
prakasa by NageSa.
The author is well known. He was the court pundit of
Dara Seko, the eldest son of Saha Jahan, who was Subadar
of Agra in 1658, when war of succession broke out. Jagan-
natha was the pupil of Peru Bhatta who studied Vedanta
with Jfianendra Yati, Nyaya and Vaisesika with Mahendra,
rs
( 459 )
Pirva-mimamsa with ‘* Deva” (which the commentator
NageSa explains as Khanda Deva) and Paniniya Maha-
bhasya with a member of the Sesa family who is identified
by the commentator with VireSvara. NageSa was perhaps
the pupil of Jagan-natha as he names his commentary as
Guru-marma-prakasa. This is very probable as both
Jagan-natha Pandita-raja and Nagesa were very long-
lived.
See L. Vol. 1X, No. 3014.
4399.
9377. The Same.
Substance, country-made paper. 94x4 inches.
leaves). Lines, 11 on a page. Extent in Slokas,
Niagara. Appearance, old. In three difterent hands.
An elaborate work on rhetoric and literary criticism.
Folia, 258 (181+ 77
6,241. Character,
4900.
9849. The Same.
Substance, country-made paper. 9x5 inches. Folia, 42. Lines, 11
on @ page. Extent in Slokas, 1,000, Character, Nagara. Appearance,
fresh. |
[It appears to be a fragment of Nagesa’s commen-
tary on Rasa-Gangadhara, as noticed in LO. No. 1204,
p. 349. It bears neither the name of the author nor that
of the work,
4901.
9536. ATataara: | Kavya-vilasah.
By Ciranjiva Bhattacarya.
Substance, country-made paper. 114x4 inches. Folia, 31. Lines, 7
on a page. Extent in Slokas, 682. Character, Nagara. Appearance, old.
Complete.
( 460)
This is a work on poetics by Cirafijiva, the author of
Vidvan-moda-tarangini.
Beginning :—
SMT AA: |
aati faatfoyat aaRaaTAAat fat a
yaaufasifemt asaarafaefaa |
aufafy-awifaal aazataaterfaat
aercamfaat waq aifa arefaat | a Il
afafa: afatuta waa fafa:
aft at a4 HAT Has: fate: |
aft aqataaate: forfaat-
ufaat saatfafa aq HIATT || > II
RAAT ATA Aaa aAlat catfa Bar,
qa | afa afaatifad aafy AAA ITA H-
waste af wasn aaa Ra ether |
Wat wats waa wafraqegyy aa
Widnram waMAdt aa weafa | 3 Il
Wag ARTaley YAR
wa Sava udtaMaraa | 8 |
qTeet Arey fea | carte |
Hind :—
sateanatte faa fataiteayte: sat
ugar sfa at wigtgatsya aaa: |
Ty aafaaedafa facstaa astaat
agiecuatfedt we wai agre ute: wat |
Colophon :—
WHat ute: 2 |
7B, xfa sifatstaugmaqa arate caaat
( 461 )
Last Colophon :—~
ata Ss acs laggy aaa sageieaat
. fediar afte | wy | |
4902. le
2905. The Same.
For the MS. see L. 4125. It contains two chapters |
only :—
5B, sfa arataarae caagt vaat ufe:; aaa wagie- i
aat featat afy:—the last colophon in the present MS. }
The Post Colophon Statement :— )
Wqq YOsR’ AT Fr wae fafeafaeafaaats- |
wfaat tna fafeaa @& ant cat attra
Sta |
For the beginning of the work see Bik. 285, in which
the author promises to give the examples in verses of his
own composition and his example for qafawat «fa: or re-
verence for the gu7u runs thus :—
5B, sat ugraemaccacay quit
Tent faratcstateara fase |
faaaaheaingqe-awearsat g A:
ufcerl AMIACATSe aT Aala |i % |
LIA, feat zIRITS guyetuqa yutaat
aaa qaas yafcagat feeaus |
SUMATRA TTA A ACATT
AMT Wa athe awafa wat tiatia: |
15B, aa wasty aafis-aelaee
qa faatfa gary gareaetar |
( 462 }j
sttad wane facaa Wat
ward ufsaat faaa: 4 aiste i
18A, Zia Sarat fanacaeifamAaa ,
WAMIBA SAA THAfa RATAR ATT: |
qeaieya afafa wafiefafanat
ABATE: WALA HA ALT
Our MS. does not contain the author’s name. The
Bik. MS. gives his name simply as a Bhattacarya.
Aufrecht’s information is that it is by Cirafijiva who
flourished in the beginning of the 18th century under the
patronage of YaSovanta the then Naib Dewan of Dacca.
But the previous number gives his name as Cirafijiva.
Raghudeva mentioned as the author’s guru in the verse in
5B quoted above wrote a commentary on Padartha-tattva
in A.D. 1719. He speaks further of Jaya Simha whose
whereabouts, are not known. The only work he quotes
from is Alamkara-Sekhara. But the date of the present
MS. Samvat 1732=—1676 A.D. is too early for the author-
ship of Cirafijiva.
4903.
9393. SARITA | Alamkara-manjart.
By Nirmala Bhalta, the son of Vallabha Bhatta
of Benares.
Substance, country-made paper. 135 inches. Folia, 4. Lines, 11
on a page. Extent in Slokas, 200. Character, Nagara. Appearance,
fresh. Complete.
A short treatise on rhetoric.
Beginning :—
a afer sina aa: |
RATA HAL A-TeS-HTAT STH |
4
a SS —e ee . ’, ap ff)
( 463 )
HATS ATAC AT + Met TGTTUTAT |
Sq fA ea Bas |
FAT RUA CH AFA |
End :—
afiafeantaaarat: ayI—
agifa aq msm Heeanlenetea F |
Hast Baararay aracramsfa fos |
HPAP UATaA FQAaASals |
: aay aan ae fasar: faa axzat || ge Il
ata tase waa fa(af)careat |
fama faa TaTAyF TRA AEeT | Br Il
Colophon :—
sfa sifamaugtacfaargieagel Sarat |
amlaleraaalats Ge |
vaq 1eyal Aawaa 8 atest starfanrstwesyral
Pauses Riyal | we aad |
4904.
9956. The Same.
Substance, country-made paper. 115 inches. Folia, 4. Lines, 1]
on a pages Extent in Slokas, 2900. Character, Nagara. Appearance,
3 o
old. Complete.
After Mangalacarana it has :—
SAMUI AA: |
SATA THITA TSA TA Ferra eT aT FenT ATC |
wma paerfaatacataataat Tats |
End :—
gupasicatd fe qeaataea fe
aaa aia wa EE ATaTA + +t
|
( 464 3
ST i ie
+ + + + wayPicaett
Colophon :—
sfa aifraaugtactaarayxizaset VATA |
4905,
10621. DAK ICATE: | Alamkara-samgrahah.
Substance, country-made paper. 11*«5 inches. Folia, 10. Lines, 14
to 18 ona page. Extent in Slokas, 800. Character, Nagara. Date, Sam-
vat 1913. Appearance, fresh. Complete.
Colophon :—
afa Staagimdge: eara:(a) |
Post Colophon :—
aaq yeas fafa ute qo « ufaatae fafad aam-
LAS |
In a different hand there is a line, containing a stray
verse.
Lhe Mangalacarana and the object of the work :—
FAM TA: |
(Wy BASHA ITT | )
faa] UAT TAA AAS S|
SATHANA FASUFRAUSA |
aa FUGA WAFS HAYS |
aatsaiag td ae WAI TAaTTS: |
yang waa faa ne Weta |
aT amtaragarat WRTAF AI SS AT ll, ete., ete.
“.... ~
=
——
( 465 )
4906.
55SSOB. A AatezHt | Kavya-candrvka.
By Nyaya-vagisa, son of Vidya-nidhe.
Substance, palm-leaf. 14}x14 inches. Folia, 4. Lines, 4 on a page.
Character, Udiya of the early nineteenth century. Appearance, good.
Incomplete.
An elementary treatise on rhetoric. See L. 639.
There are four stray leaves.
4907.
4597. The Same.
By Rama-candra Nyaya-vagisa.
Substance, country-made paper. 164x314 inches. Folia, 4. Lines.
60napage. Extent in Slokas, 120. Character, Bengali of the nineteenth
century. Appearance, fresh. Complete.
An elementary treatise in verse on Rhetoric.
For the beginning of the work see L. 639.
Lt ends thus :—
aaa a Graco fadt Te |
FATE alfaat aw wees Wasa |
afa (waa(?)) atewetarg HAMA TATA |
Heya teagan Ty-WexaTA Hat AAT I
Colophon :—
afa_ SheraaRaaatiwagraraftactaaT | ATT
atseanl AATAT |
4908.
5272. The Same.
Substance, country-made paper. 134x3 inches. Folia, 8. Lines, 5,
6 on a page. Character, Bengali. Date, Saka 1734. Appearance, fresh.
Complete.
59
( 466 )
End :—
sfa siemetae MAMTA FATA |
rasa erat Wy-Mtalza A AAT |
sfa siviaaareaaraarat arta farat |
aT RID aiaAI afi TAT Al AUST AA |
Colophon :—
¢fa migufSsal AAIAT |
Post Colophon Statement :—
fafaat SicraatTayeaol RIA AT |
wh Aefaanafaa (yoxe) sfarq CrAafRAT |
fafiaaut war zat SATTTAT aT
angela waa afaanrgeatfas |
4GO09.
5268. The Same.
Alias Gunalamkara-dosah.
By Nyaya-vagisa, son of Vidya-nidhe.
Substance, country-made paper. 14x 3 inches. Folia, 11. Lines, 4
on a page. Extent in Slokas, 110. Character, Bengali of the nineteenth
century. Appearance, fresh.
An elementary treatise on rhetoric and composition.
For.the beginning of the work see L. 639.
It ends thus :—
afa eremetala RAMA: AATAA: |
sasma faa Dy-WealA AA HAT |
There is no colophon but it appears from previous
numbers that the work ends here.
.
i
:
( 467 )
4910, 4911.
952. ATMA AST | Kavya-kaumudi.
Ifor the manuscript see L. 2044.
A concise treatise on rhetoric, leaves from 29 to 34
are missing.
4912.
1096. SrA TATAST | Anyokti-muktavals.
By Soma-natha.
Substance, country-made paper. 10x4 inches. Folia, 11. Lines, 9
ona page. Ixtent in Slokas, 190. Character, Nagara. Appearanee, old.
‘Complete.
See Bik. p. 285.
A treatise giving hundred examples on the Rhetorical
Figure known as Anyokti.
Beginning :—
STMTaT TA: |
c . .
MAMAIAA A VUAA WATS: wae: |
+ + + + + Fee aq Reet |
Lt ends :—
ARARAKMAT AAT
gutatzanataratiaqaastsd |
afunaagarat arafa: gaqe-
cfanaaataal SIseteHA | VoR |
Colophon :—
sfa WhetHagQaay cael ac-factaaraite-
Haas AATAT |
eo
( 468)
4913.
5154E.
Substance, palm-leaf. 1441 inches. Folia, 4. lines, 5 on a page-
Character, Udiya of the early eighteenth century. Appearance, old.
Incomplete at the end.
A treatise on rhetoric. The MS. being incomplete,
neither the name of the author nor the name of the work
appears.
It begins thus :—
ASNT WLU |
area atafasa fuat afsamag |
AARAAATS TA VARA ASTVAT |
aeqaryaaat a wAdw yurteat |
ataiat afsat at wigaifeqaqfat |
4914.
2174.
Substance, country-made paper. J0x44 inches. Folia, (by counting)
8. Marked from 2 to 10, of which three are wanting. Lines, 17 to 19 on a
page. Character, Nagara of the eighteenth century. Appearance, dis-
coloured.
This is a fragment of a work on metres and the
figures of speech.
It begins from the 30th Sloka of the first chapter.
5A, sfa facia: ufese:; vate Datue aa awetntacgaa :
SB, sfa o 3 om alae THUY Eerie Wyata |
aa AerAaay awa Bt UstaaT |
It abruptly ends with the 66th verse of the fourth
chapter.
9A, qeanaaifa, feemanaatts:, ataasitfa; 4A,
atvamztatits:, faaaattar, frafam, aifeatt, Tarai ;
( 469 )
4B, ararearestfa:; 5A, ataraifa:, wreeatestfa:, aatacsmfa:
aTartaestfa:; 5B. wastucarfa:, uretaestfa:; 6A, WHI
atfa:, uqatfa:; 6B, araesifa:; 7A, aaaturstfa:; 7B:
etaararacsatfa:, yegatstfa:; SA, anrarsifa:, aweautaa-
atfe:, tqanfsnag; 8B, faastfa:; 9A, areafatfa:, setaat-
aifa:, mratatesitfa:; 9B, asaitar, wfafaarattar, auzta-
aft, faeadierfe:, xfs faargaaq; 10A, aigqea, WATAA;
RLUTHA, AHMAR, Balan, ahyncnyqaa, WaHaqTa ;
alataaqaa; 10B, aaragqua, faygqwa, gadagaa, fase
qWAIgda, arsryang, freaqane, faareany , ACTANA ;
wiagqany ; The MS. breaks with the example of Sthana-
cyutaka.
AQ15.
9205. aqaTaraer | Bandha-kaumidi.
By Gopi-natha.
Substance, country-made paper. 11x65 inches. Folia, 4. Lines, ii
on a page. Extent in Slokas, 350. Character, Nagara. Appearance,
fresh. Complete.
This is a short treatise on that portion of Rhetoric,
which treats of the arrangement.of letters In a verse
in various figures such as representing a lotus, knife, etc.
Colophon :—
sfa stuttttarafacfaat aaratgel SATAT |
Lt begins thus :—
wy =
@ af Sinwatara aa | | atvatfeay Az |
Aq UATE |
faantaqa wauretigat a uTTaT |
AMAL | :
wataate sata wat wafer cat Hal TAHT
Fe ql wwMq Raaafeasst Vall FA
( 470 )
VHA WTA 191612181! Va fae
facaaqa wateta aH Geld) 6 Wa UATE
ware aaa af {iV ZisiwVi¢@soies
It ends :—
QUAAe: ATE: | ‘
a1 ATaT Stal TAQ UI Ararfy Hat TAT |
G1 tal HaaT Hal Heal Acawat || ud |
wince wizy fataay wqati |
faeg(: ate wa wqtaracraat || “9 |
Maat AeA: |
TAA TRA aHI-Aa-as-aLa-FH aaa
parstcrarenritattrar AQUMATAAT
GHTAST ALT USAT ATT UAT AITAAT || WS I
wfeastat war |
yarater waraisar farataayr fararerar |
GAALIYATATAT HBAAAAT | WE |]
RAqgaMty far
Wg WAHL Sat Gaetaeaetfaat
fawat afeat ara wieer axetf rat | fo |
a aawetagteTaAataetearfa |
Tae BATATTATE aH WETAAT | <e |
faudtamtafaat wat |
Al a-uag aotat 2at faracarfadt |
Som TWAT Tait wat wqufa: yfa: | Ce |
fear aseua fasicacarteay |
ataste axat wait wat wate: wfa: y ee |
afa gqafaataeeaerafaar
fearaaagat matats: Rats: |
.
— ee «og _ v= a = .
( 4a7r }
BPCAIAIATT AtTATT WYaAAY:
faaneAaaet yeaiset faatfa: 1
Colophon :—
xfa shnwaratfacfaar aaratqet SATAT |
wv
\S" |
AQIDSA.
8069. afaacfuctftar | Kavi-sarani-diprka.
By Ratnesvara. ™
Substance, palm-leaf. 12x1}inches. Folia, 40. Lines, 5 on & page-
Iixtent in Slokas, 600. Character, Newari of the seventeenth century.
Appearance, old, discoloured and worm-eaten. Complete.
A work on composition :—
7a: WAI |
saHiafesiquataara aafaatmarwte |
faata afarafrata waaarfrarateg ta THAT |
athena fagqgeweqeUaat |
afuataancaat ayaet aA wag ate I
EE TaUlWHAT: Pewa-qaa-yea-aGTwEkl' |
facat AUIg AUT AUT XI EA TAT |
met afaaacad faa F |
ani qua fafanfuagqaafaqqaa (=) A Ut
FT AYATATATY VETHGAATeMNTg |
ATHTAAAM AS Waal CIA TA |
aqura(a)faa + + + aways dea |
ufcaaa(a) Satie Kuatfra Ga |
al ua: qanated Aga atfactaar |
wazdfaat at Ba aia fe gata aq |
a
|
( 472 )
Waaeas Aart dfantag fart |
Te AA AA~ZMHAT ABT YHA Wa (°%) |
TIA thaagal faziat 4 suaaafaad |
argfedtufcaufe ufsarearaa uta |
faaifafacaqat faararatsaaeatat |
wit: wHatacaas Pramas aaa anata ||
gaag afea(:) frufaatanamarars! |
tramtistasta: frafarteana
aq aga: ufcate ufetaastaatar aaqe: |
dT Paciaata (fa) a: ufaa: ufadiad fates |
| qgiaa: wane TFA AAUAT |
| at zanuafeaatatta qed fran |
Tataaw cage ofa faa wraararas: |
afca-afaatfacaraeatat ethan HU ||
faqaaayarge caarquagearaaaa( fasta |
aifaa sfu anfa faced veneafaaied awa |
aamaa| a |fatacserfecata faata fares |
Seltfoataa avait arafo wea eifvaat |
wernt tfeat faa wate: qfesateruted |
qaufacta qcrat fears faa aa | (2)
Wwe ataaaaiqara(a) fag wa farsa |
faaaa weatiag! ada at fe aaa |
uWardcaaea(st:) afacaafafeara: |
ttaat + yal") wa ete aa agtaar |
aaqHLM aad qufasey us aa |
ufagt Ta qari waats fauaz: |
Naya-Sarma-diksita was a well-known professor of
Madhyadina-Sakha. His grandson was Vidya-nidhi. His
son was Visvambhara Agni-hotri who kept three fires. His
( 473 )
son was Bhogi8vara Avasathya. His son was Ganga-
bhrama who was sometimes called DeveSa-purohita. His
son RataneSvara was a quick versifier. He is the author
of this work.
Colophon :—
25B, xfa stafanefwdifrarat staratcantatacteacaat-
faxfactat qufasaucfaretenta: aH: | |
314A, xfa stafamcfusifrarat tartan tatrcteafac haart
faaiaraaaafireat fadaterta: feat: |
333, ¢ wafer catatelta: aare: |
40A, o fagitterfefaen ata wquterta: |
Last Colophon :—
o uqatena: | dana afsacfoettrat grat |
60
RASAS OR POETIC SENTIMENTS.
4916.
10889. Taatteat | Rasa-tarangini.
By Bhanu-datia Misra.
Substance, country-made paper. 125 inches. Folia, 38. Lines,
8 on a page. Extent in Slokas, 750. Character, modern Négara. Ap-
pearance, fresh. Complete.
Last Colophon :—
afa | «-_ Stanaafaqaraare( aura )aaytadaa-HTg-
cufactaarai | caacfyagt | weawacy: ||
A well-known work on poetic sentiments. In eight
chapters.
See 1.0. Catal. No. 1211, W. No. 824; Aufrecht Cat..
Bodl., No. 506; L. III., p. 311; Burnell, Tanjore MSS...
p. o7A,
A917.
9857. The Same.
Substance, country-made paper. 115 inches. Folia, 27. Lines, Lt
on a page. Extent in Slokas, 675. Character, Nagara. Date, Samvat.
1904. Appearance, tolerable. Complete.
Rasa-tarangini, a treatise on poetics, by Bhanu-datta,.
the son of Gana-pati-natha.
Colophon :—
; ata Stafaancraaranmgfaartraaa-arqeufacfaarat
Laat fFWTATARLF;: |
Sitaq weos fata afaramfedtarat <faara?(xta)
waits fated ¢ steraree Wa aed fated | quae |
( 475 )
4918.
532. The Same.
For the manuscript see L. 1291, and for the work see
[.0O. Catal. No. 1211.
4919.
9665. The Same.
Substance, country-made paper. 15x6} inches. Folia, 10. Lines,
17 on a page. [Extent in Slokas, 900. Character, Nagara. Appearance,
tolerable.
4920.
2796. THAT | Rasa-manjart.
By Bhanu-kara son of Khagesvara or Ganesvara.
Substance, country-made paper. 11$x3 inches. Folia, 1 to 16,
a leaf without any page mark, and the last leaf marked 22. Lines, 5 to 7
on a page. Two different hand writings. Character, Bengali. Saka,
1651. Appearance, discoloured.
Hnd :—
atat Te wige: afaqgragiM asta fu-
amt ae fatuy qeafea wata x xX X XI
x X X X RaaTeafaat Shirgat athrat,
aqaeat sfaurtesta-qaaaetadt age |
Colophon :—
gfa Strqeufa sfacfaat tanga Sarat |
Post Colophon :——
AVA WREST LEV |
49921,
9664. The Same.
Substance, country-made paper. 15x6inches. Folia, 10. Lines, 12
on a page. Extent in Slokas, 456. Character, Nagara. Appearances,
tolerable. Complete.
|
i
I}
x ~
— -_————- 2 oe eo
( 476 )
4922.
9630. The Same.
Substance, country-made paper. 1044 inches. Folia, 25. Lines,
9 on a page. Extent in Slokas, 650. Character, Nagara. Appearance,
tolerable. Complete.
Post Colophon :—
WUsts Wh ATA (2999) aaa |
yafaut aang qaisfs TaAREt |
4023,
10888. The Same.
Substance, country-made paper. 13%5 inches. Folia, 28. Lines, 9
on a page. Character, Nagara. Date, Samvat 1876. Appearance, fresh.
Complete.
Colophon :—
ata tae a Stora a-atasastiarge facta
LaRaat AyUy |
Post Colophon :—
{sod BTEISATe HUA .2 wufsygarai Fa wae:
faaqes faafeat faaniea fafaat arvet autzaa
q aq qea: Wlaataaa |
4924,
8156. The Same.
With the commentary by Gopala Bhatta.
Substance, country-made paper. 10x44 inches. Folia, 60. In tri-
patha form. Character, Nagara. Date, Samvat 1888. Appearance,
fresh. Complete.
The text is well-known.
( 477 )
ATAU AA: |
Aaa Aria MACH {CAAT AAIN TATA:
ae marae qfaawas isa IGase |
ira laa urazquafeaswaer cwaat
AM HUTT CRCIUCa ARTA ATAU |
slaamureauga afaeraquceaay |
fara cengeatet (chat <faacgqat i
| uife(a}) fgarengeiay-fafawitaama Getaa wat aa-
faemeat CUaa HIqacatal afta: agaataefa aratatafa |
For the Text see I.0. Catal. 1217 and for the com-
mentary see I.0. Catal. No. 1228.
The commentary begins :—
Colophon :—
(Comm.) efa mturaaganat caagqetetat SAaTHAT |
Post Colophon :—
© . . « e
SRM TRUUTAAAT | Aa ress Alaa vat AA |
4925,
4823. The Same.
oe
Substance, Nepalese paper. 12x5 inches. Folia, 18. Lines, 6 on a
page of the text. Character, Nagara of the nineteenth century. Appeatr-
ance, fresh. Left incomplete at the end..
The commentary comes down to the 94th verse
only.
Beginning :—
(qaw) TMA AA |
ata aca curfa ucat fadtaarat yfs
alas ata Hata ae Ua BATUFAT |
aa fee waa farted faatia watts
cai aauataat faTaAtAgy carat Ete ||
( 478 )
fasaqnraapeycaqiageaa |
Ta VR Btaxurgqat tana p
sarte |
Beginning :—
(etatat:) SMU ITT AA! |
} AAT AeA Tfuzraar aman: Ata ?
wat Hearty afoqawgarat aHaaSUt | 7
werd Fad ueequafeasivct cya ?
TAI RAH eeecacaia AA Rea: ti?
aazmTiuMuss fete |
fHad tanga: ctat cfaancfeat | sate |
( aq wfasas | )
4926.
1692. Taare: | Rasa-manjari-parimalah.
1° — e Binns * ‘nici e
By Sesa Cintamani, son of Sesa Nrsinha Cintamani
of Bradhna-pura.
Folia, 44. J.ines, 12
Substance, country-made paper. 1143 inches.
Date, Samvat
on a page. Extent in Slokas, 1,550. Character, Nagara.
1740. Appearance, old. Complete.
A commentary on Bhanu-datta’s Rasa-mafijari the
well-known work on rhetoric.
Post Colophon :—
HIT AOBo |
In red ink wn a different hand :—
x¢ Wea Gaya <3 elem aa ed afer |
For the beginning and end see L. 3115.
se
4927.
$192. TaAAUAITTAS TAT |
Rasa-manjart-vyangyartha-dipika.
Being a commentary on Bhanu-datia’s well-known
work (Rasa-maiijar?).
By Ananta Sarman.
Substance, country-made paper. 10}x5 inches. Folia, 65. Lines,
12 on a page. Ixtent in Slokas, 3,100. Character, Nagara. Date, Sam-
vat 1803. Appearance, old and discoloured. Complete.
Last Colophon :—
sfastiitattalc_quwai fe taa fa fraremrtadteaas—
ufwaagqa—arate fiery a—saaan fata tea
facfaat laeresifas_gyqufaaanraraa tate e-
Sqaqa-wWevata( qty ) ara fort a farce AAg STA
wars aHMgReTRgattaatfent canRqlag@r-
atgel AATAT |
Post Colophon :—
a Q{oo See Haq esos aAataa BRAVA & Ae
ANA ALF |
In a later hand :—
guatae feats Haeae |
The commentary on Bhanudatta’s work was com-
posed in Samvat 1692—1635 A.D. It has a long intro-
duction, consisting of 34 stanzas, mainly devoted to the
glorification of the family of Kasiraja; and we have
the following succession of kings:—Pratapavara Rudra,
Madhukara Saha, Vira Sinha Deva, and Candrabhanu,
the patron of the commentator.
For a description of the commentary see 1.0. Catal.
No, 1224.
( 480 )
4928.
8188. THAT | Rasa-manjarz.
By Bhanudatta with Nagesa Bhatta’s commentary,
entitled Rasa-manjari-prakasa.
Substance, country-made paper.
10 x 44 inches.
Folia, 34. In tri-
patha form. Character, Niagara of the cighteenth century. Appearance,
discoloured. Incomplete at the end.
The commentary begins :—
afattatquavaia agae fautfa a: |
afatizfaadtaara: ats farata 7 |
aawmugaial frauggataat qe faqat |
wageivarn casita eaatfacdai: |
4929.
8402. Vhe Same.
(Commentary only.)
Substance, country-made paper.
10 on a page. Extent in Slokas, 1,000.
pearance, fresh. Complete.
Colophon :—
103 x 43 inches.
Folia, 48. Lines,
Character, modern Nagara. Ap-
zfa sardtuamatwangaartiaugaat waARt-
TR AATA: |
See Oxf. No. 508, [.O. Catal. No. 1222 and L. 1948.
4AOSO.
9539. The Same.
Substance, country-made paper.
9 on a page. Extent in Slokas, 396.
fresh.
11x44 inches.
Folia, 18. Lines,
Character, Nagara. Appearance,
—_—
=p.
3
( 481 )
entary on Bhanu-datta’s Rasa-mafjart,
a Bhatta,
This is a comm
a work on Rasa, the poetic sentiment by Nages
the son of Siva Bhatta.
See L. Vol. V. p. 266, No. 1943. Oxf. 213B.
A931.
$383. THRE | Rasa-kaumudt.
~
( ATATATeE )
By Sri-kantha Kavt.
Folia, 14-78. Lines
Substance, country-made paper. 93 x 4} inches.
Appearance,
8onapage. Character, Nagara of the eighteenth century.
old and discoloured.
A comprehensive treatise on dramaturgy.
Colophons :—.
26A, xfa Waar sptaasatafactaarat caantgat YaaIe-
fagatsearat feats: |
36B, ¢ yarams gaat aA EAT |
SLA, o aTargraaae |
Adhy. 5 begins :—
aaREUTMpaT, KPT erat ate fuergatts-
qyquulsda a aa SATA TAY L A |
agqait raat Saar fear ara Raa eT
AMA AecaItaTAMTAR AT AA ll
sargra wa q aratquimenc: eata: |
enswqevst aaneai gat AT |
aentte at aay RLATA HATRAA T
The fifth chapter comes to stanza 146, but is still
incomplete.
61
4932.
8312. AeaTMaate: | Kalyana-kallolah.
By Giri-dhara under the patronage of Kalyana Dasa,
son of Todara Malla.
Substance, country-made paper. 944 inches. Folia, 25. Lines,
11-18 on a page, Extent in Slokas, 1,000. Character, Nagara. Date,
Samvat 1693. Appearance, old and discoloured. Complete.
Descriptions of nine sentiments.
Beginning :—
SMUT TA: |
x. o~. . S :
TeaQi Afafaad-7aaRaaT amu tasattaad
waafaattaaa agar aif: aqartad |
aan aan aUea nese ea ateat
alg aif auf GasaTst: at arazatyHeate: |
ae Siateiratataqgaauta: atte qettyl ta ja-
Ri -wtetattewmatwasael FTAA FeTAT |
may zuitfa: qaafaatmat qrauaattacre
alata afaugiifaanaataatsfaaent Il R |
at famataarayeaacataia: afaa-
PUMARWAPACwAKM AAS TARA |
aremg aafaate famaaia sates
wha cata a aa eeu: vat wet arraq Il = |
qamiggnal sara TaTuiWAa-
watts: ufuteau fanaa target |
SOqCUMMAT AA AHA AH AsaTaraAR
a satatiaad quafasatagtaae: || 8 |
AAI EIATIARAL GSaAITaTCaat
faniaiaadiata: earasalaagiaaen |
( 483 )
st Pa THe Patt aca SAT AHIR TST
ae aimtwacazfan statrar sett yt
Lat Tey a AaRATaafaatAar fasta:
wer: arancravanfaa Hat 7 wifes: |
aaraifaasigat safaat Sto: vatafiet
aa wiaaatcugatad ateTaeta AW | € I
baer? YATIT RATATAT saaqtata:
Seana e zane mfr: |
salwaaia aracafaantaata te fa-
afeaw aaqnqaafta: Hui saat faa: 9 |
qqgias: awaate ofsa: wat
aa Rae LATA AA AT |
ICMP OCAGC CICK
Rea xfs THTITAATAT | FU
ae warfatauefaquiadetrarttateant-
aga: attr aafeafucta gated WATT |
ayati Waa aacafafar aifaalat ae
alae aifsaas quaacfes a wea aatfa Ic I
au: Aefa cifateaata atatad Alea
qaqa aaa aafrfsagiay: WET |
afeatay aad faacfa quis caTaa
asi faquaat: quart eat Ft Xe Il
Sat ae fearaatfareMTansay SFTTA
gfady feat faxat YATEURTTT |
yafefatanraatiala eateate Fe ATE:
wen Bafa AVACMIST FAY TATSA | LR ti
asd wawufasiagaras:
atatfa ater fafanifa a atentta |
.
|
|
|
—- : ——$— ee en ee
~ * eae
ad : e
( 484 )
autaa fufeur gaa faasy
ay aq aatetatfad aatfa |
TAT SLM TAA AHHH AAT:
fg Tae aaoraty gated |
HT CAST! |
5A, sf arawmeqarsiaaimcafactd aT
Reaat afsarararacyamautespe:: LOA, © yeRIefaeuT
aTaafiaumufespse:; 13B, © fauwarufese:: 17A, o BaAiaua-
ufispe: ; 19B, © geaeaqnautessz:; LOB, o wreaq(a)caamaufese ;
2Q0A, ¢ mamcaamaufespe:; 20B, ¢ ttareamaufee:; 218,
o atixaauiaufege:; Q2A, dtuqecnamanfese:; 22B, age
waquaufempe: ; 25B, sfa weeacaamaufespe: |
afa Ste IsRaTeo, | RTARTA: HATH!
The work ends :—
aitianactzat feafafafaaractey:
waMTaaad CfaRataatcaana: |
AAU Fee taRMayl aap aararveasst
staifeafasaa acufa: Hema: | Re |
stciaiatata: wxufatate: aaaqureatate:
argent fe jfat: aaruatfatafa aifaarerfate: |
Fey facta iteaea Is4 AqtTHx:
"Shere suafad fanaa weet infa: || Re |
ath: qiateq arf atat RTM BTA |
fanaa at fag avec AeTATT || RR |
HRaMiaaulaey BW: YCeAUA |
fanaa yarn qa FRA AMT || RZ
Ba Cal TqAUaT Vaal ateat frefuar|:| Fata |
aaifuataaai(at) aaa d vasa A efaat | Re |
ae, 4
ie « & 5
( 485 )
sifrfutard aenufafaaraar (afaat) |
Fa: HIWAMA Fal ag WHT |
The Post Colophon Statement :—
aiteq | daq wes an wie are fad wa ufaart
AFA Bays TaAQcaray wfaate arestearsy fafea arse
Gentes aerawatara: |
Wea Gan ee ateu faf@a AAT |
afe qEayqe al aa erat a Saat |
4933.
3027. Taalatar aZtat |
Rasa-mimamsa with a commentary.
Rasa-mimamsa, a useful treatise on poetic senti-
ments, consisting of 113 verses, by Gaigarama surnamed
Jadin: with a commentary called Chaya by the same
author, written above and below the text.
For the MS. and the works see L. 4021 and 4022, the
text is noticed in L. 4021 and the commentary in L. 4022.
For the works see also 1.0. Catal. No. 1206. Eggeling
gives the number of the verses as 114, but in our manus-
cript it is 113.
4934.
8162. wqtfaarata: | Catura-Cintamane.
By Ganga-dhara Misra, son of Misra Sandoha.
Substance, country-made paper. 105 inches. Folia, 6-143 of which,
again, 54~66 and 110-114 are missing. Lines, 10 on @ page. Extent
in Slokas, 2,400. Character, Nagara of the seventeenth century. Appear-
ance, discoloured. Incomplete.
A work.on poetic sentiments and styles.
;
|
( 486 )
— Colophons :—
133, zfa stafasacteres-singefaetaa aaefaaaat
WANTRF TR ATHqenfaeua ava waA: GAT: ; 25B, « @ata
@aeutaeqa ata feata: garm:: 36B, o aatnreeyre aary-
gaaiqad ava cata: warm: : 48B, o« weatatoufafreaat ata tae:
var; 538A, o afaanuncufaean ara uga: nara; 59B, »°
‘taateiaeaifaeumt ata ae: ut: ; GLA, o aatfareumt ala aHa:
watt; 63B, o fauwaeRte yatqafeamt avarea: GATT;
TOA, ¢ alafaeumt ara aaa: uatm:; 71B, ¢ yatafaeqat ata
CWA TaTH:; 73B, o muMTARyefseuMT AT THT TAT
85A, fauaaesicfaeumt ata <izu: uarm:; OLA, » aan
FFTe aqafautasi ayia Saas a_—sre mWIHe fare ‘TH
aatem: vara; 100B, ¢ aufaaaacnerarefremterarant eter
talfemie-uuraaalcsaannifaeqeaiisamat ATA Bq|W! GATT;
124B, o signees teas Haga aa SAT aTa atSe
garam: ; 139A, - fatanuratfieqmt 1A are: wat; 143A,
o atiaaattectfafaeumt ata wee: vat | xfa awqefantata-
Tan AATH |
lt ends :—
VHTelyguTas: RaMals TTA |
ataqaigawzyrt TMaqawaTa Sad |
aaqeaty aaa etal asst aartfati: |
aqemaata aaa Arey TaUTTTT |
4935.
5089.
Substance, country-made paper. 14x2 inches. Folia, 8. Lines, 5
on a page. Character, Bengali of the early nineteenth century. Ap-
pearance, old and discoloured. Incomplete at the end.
~—!
( 487 )
Beginning :—
aasitsta wyufa: fenatar Saxtsht a |
me feeaATStst qaweY FIs |
gsTettafcatart, etc., etc., ete.
arenas Fqeaatfy-
aaa aay taqat + + smi Sk © ee ead
aacaraty fet ataayatat
fazaurwfas aA Wea |
ata au fated wy at Ga:
afaaqat vata sate aaate |
ant waite GaAATIAS TAA
+ 4 + +
aad yaetaeratateaat + fad at
Al] damagzarataqgeaady utattaa(g)s |
Sttaaceat feufad eS ve: + + 4+(?)
aerate wath Aaa! RI GUTH |
The object of the work :—
grat aay uta uta yrargeateta |
aurafa aaraat ata Ufa farsa |
atfantaeeat STAT atta cau feat |
aanttca + + atata ata utfa(ft) TIXaT Ih
The MS. breaks off abruptly, while still dealing with :
Srigara Rasa. |
The MS. being incomplete, we can give neither the i
name of the work, nor that of the author. |
( 488 )
4936.
, 8267. STTAATSHT | Jati-mala.
By Soma-natha.
Substance, country-made paper. 104 inches. Folia, 4. Lines, 12
On &@ page. Extent in Slokas, 144. Character, Nagara of the eighteenth
century. Appearance, discoloured. Complete.
On different classes of Nayika.
Beginning :—
STM ITT AA: |
Waaqaals WMA yeas: yee: |
MIMS AAIAAT JZ HATA |! 2 1) (2)
It contains 52 slokas.
LA, eft qerarfa:; 1B, efa magrarfa:: xfa yranstha;
3B, xfa fasranfa: ; attaufaat; afuear: aaeratcat ; fanaa;
Sqat; Tae; 4A, afrer[ feat |
Saat aa (?)
Colophon :—
ata atrasaatuaaatgta_ataaratax haat stfa-
ATA GATH: |
The work ends :—
TAUYUMN-aqaawaraa BE
vateata ateafa: ataastaarar aes |
Tenefaqauuas gfnsara atfaasi
fratareaaaat aaaataaragat |
| | 4937.
8309. WaT fag: | Sragara-binduh.
Substance, country-made paper. 11x43 inches. Folia, 8. Lines, 9
on a page. Extent in slokas, 160. Character, modern Nagara. Appear-
ance, fresh. Complete.
Vie
~_— ae.
~
( 489 )
Beginning :—
SMa AA! |
AT WRT |
aTfadiquareage afrre uta |
aTeaq AYL Fat saaret FIs F IU
ae xa enitsta wary Tt at AA |
AA SATARNAAT TH ARCATA | R |
End :—
aqaatata srat foarte Sfad aa |
ad aad cad wat: utafaat gs | VRW II
Colophon :—
fa stisemiefae: SATA: |
Post Colophon :—
(In a later scribbling hand) #aq yeRe BTPaAta-
TapeMTAA FIA Vat ya Faas MATL BTA
cfaaaatarate |
62
LETTER-WRITERS.
4938.
car Met ome aml > ,) ; 7-
o7D5, Gaataqet | Patra-kaumudi. :
By Vara-ruchi.,
Substance, country-made paper. 1643 inches. Folia, 12. Lines, 7
On @ page. Character, Bengali of the eighteenth century. Appearance,
dilapidated. Incomplete at the end.
A work on letter-writing, said in the introductory
verses to have been composed by Vara-ruci under the
patronage of Vikramaditya (7). See L. 347.
The topics after those given by Rajendra-lala are :—
3B, cmuufe:; 7A, afarafa; 7B, qeuufe, wera
aifanufe:, wet ufa usfe:, foot ufa uafe:; SA, wa ofa
wite:, aaqritaatarnte:, zauute:; wfcoufe:, fastaat gota;
8B, aya samagiuatratyat:, wy Sua uataaryaAe ;
9A, aPayaa spams wafaaqra:; we yearfaurTal
qafaaagar:; aa fateqaanrauafaaararc:; 9B, wa ysit
uraat watagagatz:; 1OA, Ba asieieutaat wafeaanae ;
10B, awa wauyatorfeaaaf;, wa waq atuifemet aaa;
L1LA, «fa canta qadauufespe:; Be us-afay-aaqaa ; 11B,
aq afaaradaa; 12A, xfa qaatqat aq fasUIAGaAIgI-
ufee:: we aifiaaawtat; 12B, wa difastat |
Authorities consulted :—
10B, asadtifataanatfa, crrftfacatrast; LLA, aaateaet-
Tai, catifaaieat |
\
.
( 491 }
4939.
5171. The Same.
Substance, country-made paper. 14x93 inches. Folia, 8. Lines
6 on a page. Extent in Slokas, 120. Character, Bengali of the nine-
teenth century. Appearance, discoloured. Fragment.
A letter-writer.
Colophon :—
xfa uaataet SAAT |
For the work see L. 347.
4940.
3026. wofeqarfaent | Prasasii-hasvka.
By Sambhu-deva, @ disciple of Brahmananda.
94x 44 inches. Folia, 20. Lines,
Character, Nagara of the early
Incomplete at the end.
Substance, country-made paper.
10 on a page. Extent in Slokas, 600.
eighteenth century. Appearance, discoloured.
A Letter-writer.
Beginning :
amt uuufs 2a aatanfartars |
YR AT RAUTATA aeqraafaealaany ll & I
yurfeaattarat feat LISI fae |
Ha aTguAl (W/L Saale Gutaaa ll
4941.
10739. arcfaxeraait | Vira-virudavalt.
By Marthila Raghu-deva Misra.
Substance, Nepalese paper. 10x 5 inches. Folia, 23. Lines, 10-12
on a page. Extent in slokas, 500.
Nepalese hand. Appearance, old and discoloured. Complete.
Character, modern Nagara in a
( 492 )
Epithets applicable to a heroic king. On the obverse
of the first leaf :—
atdaq Qccs aa ¢ | atefaacraata |
atitaata yam: |
Beginning :—
The MS.
HARRIS ade 4 a aaa aay Ay ATS
fennafirafet afifaatefs queaafaanwaa |
caesaatata waurtats aaaafmaagHReqe
qaaarafefa wraeaitete aa na aafs wafa We |
+ + + + ++ +4
wa aaaaragray aaa aR age -
fra faanancaauan-T formas a
ae mifan-ciaawaqufactazaetfaz
faataa, etc., etc. |
ends :—
CAULaAAT BAAH ADT AF ||
ateraaratfaad |
ata state aqecmd vatieetuta-
Tawa ata-warefaveteataae |
qleltaa ere fanquead at tiaqa teat
+ + + + &)
aifaacaase Kqafentedt Kaw Hat
aate waa @ nwufa att fufxutfes |
atieaissaTaTE afat: sterfcaratreqa-
spatat LAAT: afaufaaeaaaaea: |
fagqrzage agiufaad =tafeara aat
agieaqguitutyated Satet ates |
qa Stefitatangqa sera aatfaga:
aaat fracradtfae weraesgst waa |
aa
\
( 493 )
The author’s father was ViSveSvara, mother Kumu-
dini, mother’s father Acyuta, family Haritamra, country
Videha, and class-friend Buddhi-natha. The work was
dedicated to the author’s younger brother Sadananda.
Colophon :—
sfa Sfas-cagafachaat stefaaerast SqUT |
A942.
2870. afaarraTTA or WafeatahroTe |
Prasastika-prakaranam or Prasasti-vidhi-parampara.
Substance, country-made paper. 9x34 inches. Folia, 5. Lines, 7
on a page. Extent in Slokas, 80. Character, Nagara of the nineteenth
century. Appearance, fresh. Complete.
Colophon :—
sfa vufeafafeueet SATA |
A letter-writer.
Lt begins :—
ay yufanneag |
aa unfeata: wet SraetTTa seatstaye |
year eifaa: wgarte |
4943.
9365. WUfAUATTVAT | Prasasti-prakasika.
9x4 inches. Folia, 5. Lines, 9
Substance, country-made paper.
Character, Nagara of the eighteenth
on a page. Extent in Slokas, 100.
century. Appearance, discoloured. Incomplete.
A letter-writer.
( 494 )
It begins :—
AY WTR: |
aaret WATE: Usa sina aq feasts: |
asyet: aifaa: uy = wa faa feat |
strat aa fase TAUeaT: b
BAY Aamo fea: |
afastaquzed atazfy HAA ATTATRMRSTL
Hyer aiet fas se facuray Baa Tai |
Ula Ula aeaaAS aA Fa fa Wal aleaeayt
Wide aa aa suggenfmatiaatyeay |
(lA) wrezea, aateaat; (1B) ueatafaaram:; (2A)
farquwat ; (2A) areaceat ; (4A) are feraequmaracay ate |
aa AF faameareatafsarfeyqraataqeaaa aaa la-
ASAT TAA A ATA THT AAA HAM HAT- TAY AAT ESAT
ais aTyqHadEe awe AT aH aa TAT AST HAUSA ATA
aifasniit- Tate a ge-aain-A fei-AA LAT -FRASA-ATYTA-UAT-
Aa-TA-4F_-WiNF-Sa-Caara faataa-wlcTaLM Sissies, ete.,
etc.
4GA4A4,
8750. wate: azar | Prasaste with a commentary.
Letter-writer with a commentary.
Substance, country-made paper. 13x65 inches. Folia, 7. Lines, 14
on a page. Tripatha form. Character, Nagara. Appearance, fresh. - In-
complete.
Incomplete. Anonymous. TLetter-writer.
Letter-writers quoted are given below :—
faaquaaad, seatadniata, were, wrens, Tua, aa-
wta, aifseta |
ee ow
ADDENDA.
4316.
7576. GFERTCAA | Sat-karakam.
By Mahopadhyaya Ratna-pani-
Substance, country-made paper. 10x5 inches. Folia, 3. Lines, 17
on a page. Extentin Slokas, 130. Character, Jaina Nagar. Date Samvat_
1897. Appearance, discoloured. Complete.
The Mangalacarana and the object of the work :—
sinMa AA: |
fads arqa(:) fasta wratea(:)HeSATTATAT: |
aaTqRalal afHataarar UTATgATae Haat sg(H )TH IR
aesaatate Zaza: sinaratfaraate WS |
aqaula range atta aeafas TaaTtT ft R |
qemcattn aaa fogat STA (ATTA AAT) fasd |
aqargqaeateg arazat Haat e(*) |
2B, xfa Sastargra(:) stteaurfwaarat FeATA WEATEA-
UWA UtHaT: AT |
aye faumawa (a) a |
| Colophon :—
zfa sasturgra-sizaatfaat Aa gene Walaa
UMRAATATS |
Post Colophon -—
aaq yses ut fafa Sayed fast = anfeaat
=, Q. ~ ~
fafad tTaalaa USsaTy FASTHYA |
( 496 )
4A333A.
4171. FaTacu-fagiat-AaT |
Vaiyakarana-Siddhanta-Manjusa.
By Nagesa Bhatta.
With a Commentary called Manjisa-Kuncika
By Krsna Mitra.
Substance, country-made paper. 1325} inches. Folia, 384. Tri-
patha form. Character, Niagara. Appearance, fresh. Complete.
It is a work on the philosophy of grammar.
Beginning of the text :—
aTinugtagar aat are fara a4 |
qaraen-faarn-aaaat faces |
as aaa let Ger TH awaidteeetq Aaad-
aaa | «ash TUTE, weet aaaAe-
aatattata |
Beginning of the Commentary :—
\ BXLIATa Az: |
aaa qt gat- fa SAS Gaa |
fem fetta fora wa weatan ute |
aitafa uzdifa vg: aval, veufeutad aq yaa!
asidtfa agat sate |
The text ends thus :—
qtaq arate fHearat wq uaracate: awarazatafata
farataauzicatatas aa fant fafuaca ae
aqueattaant straws taat casa Satatcae |
quatzaas aaa etesfaataaas fae |.
|
i ie
( 497 )
The last Colophon of the teat :—
xfa wnzufaare: |
The Commentary ends thus :—
Taautfefarnegataanaere tafaafafa aut [s]
STE-BAAT Wies-VTU |
The last Colophon of the Commentary :—
aft 0 _ Sf 2an(?) eau aaneqreraafars-
Raat ae Tghyanray cate ae: |
4595A.
7626. Sur feapeaha: | Unadi-vutpattth.
\3
Substance, country-made paper. 10}x4} inches. Folia, 28. Lines,
ll on a page. Extent in Slokas, 600. Character, modern Jaina Nagar.
Appearance, fresh. Complete.
The Mangalacarana and the object of the work :—
MAUGWUT AA: |
faura qeareat: sufsarigrateeet-
autata fara faaea gure afa |
waaguagul ufsaHat_ Aet (7)
yawatasan ale TAMA |
Lt ends :—
ceutferataa qa hag yaa |
aafgaat Sat TAA |)A | (?)
4611A.
7609. SUATYAAS: | Upasargartha-samgrahah.
By Krsnacarya.
Substance, country-made paper. 10x5 inches. Folia, 2. Lines, 8, 9
onapage. Extent in Slokas, 30. Character, Jaina Nagara. Appearance,
discoloured. Complete. Date, Samvat 1907. With internal notes.
63
( 498 )
Beginning —
SF 7H: |
wifzarnfn aaa TANIA |
fravafauatermtagaae as
aaa] AA !] vita zranTAaAe |
aifeepiyaalt|iazafscrarfe ata |
qa4(a)(a) fafa weyeeadta-aae |
aftuastararmietatquafama |
yiesitmaaieraaiqassnata ||
Aq azret Bae Ast Arifat graagtat | RX!
Colophon :-—
sta uafaufa suqant: amt
Adding faa qa 4a, ax and anfaa the number of pre-
fixes has been increased to 25.
Post Colophon :—
aaq AACA Lee ae (Véo9) ASTMAM TA
faut «fagaatat fa afa aattcaatfataat sat qaqa
eataead ae wag BeeqaTTe |
In a small hand :—
ar qufad uta....
4611B.
7260. SUA: | Upasargarthah.
Lines,
104x5inches. Folium, one.
Appearance, fresh. Incomplete.
End :—
etc., etc. slatefar ame I
Substance, country-made paper,
12,9. Character, modern Nagara.
Beginning :—
“gaiganrat faaa” gar feat iter tere
dufaaiafaaia-eta-afs + wfa-wifa-yat-aee a Te
etc., etc.
( 499 )
4614A.
7046.
Substance, country-made paper. 9x4} inches. Folium, one,
Written in a very small, neat hand. Lines, 39, 40. Character, Jaina
Nagara of the eighteenth century. Appearance, discoloured.
A vernacular work on Sanskrit grammar, the object of
which is stated in Sanskrit.
Mangalacaranam :—
yay yearend aawigtefaga |
ayaraaat fanfaratat fauna: |
RAHAT TA ATAT VAATATAY RAT |
HeuHITaaTaaL Welt FT AVTT I
mara aca eae Aq |
weyet ||
Beginning :—
aa fafa at afex Het fafo aye aay a qyet
3 aay | Fae ala SE TTTALE GF QTE cafe |
LB, waare afes aata Sl AKSE FT Wet TH aT at fed a
ware ates FF er aara: wed eq waa att aquay
Fast waar | aalasafe | viwat fag) est waadhna aaa
Rats |
It ends abrupily in the declension of the base of #2.
4617A.
7666. GHAR | Sanskru-manjari.
¢
Substance, country-made pape! 9% x 4} inches. Folia, 4 of which
the first is missing. Lines, 15 on & P88’ Character, Jaina Nagar, Date,
Samvat 1845, Appearance, discoloured.
It contains short and simple sentences on conversation
for a beginner of Sanskrit.
Colophon :—
att Peat HaTRATATAT |
Post Colophon ~
aq (seu ur afta af y fa at WERT OTA
FLMAT AY |
46914.
7458. ature iarata: | Abhidhana-cintamanh.
Being the first or synonymous part of H ema-candra’ s
dictionary.
Substance, country-made paper. 9x4 inches. Folia, 13-50. Lines,
13 on a page. Character, Jaina Nagar. Date Samvat 1773. Appearance,
fresh. Incomplete in the beginning.
Well-known and often printed.
The first and the second kandas are lost in the missing
leaves. K. III ends in 31B; IV and V end in 454A, VI
ends in 50B. See Catalogue No. 4590.
Last Colophon :—
Raa Saas fas aaa afrumatdatamt aa-
ATaTaT AAT aa: WE: aaa |
Post Colophon :—
aq (oo2 aH ata gfe < fez staftange W_eEK
qeqtgea At Qos aiguumacrauai afer
Tae dfs ufafiaaq firs WraaRsatTss I
4716B.
7470.
Substance, country-made paper. 10x44 inches. Folia, 7. Lines, 9
on @ page. Character, Jaina Nagar of the eighteenth century. Appear-
ance, good. With interlineal notes.
Two works combined.
( 501 )
I.
2B, xfa twarad aaarat <iqat |
Beginning :—
featraratuifa ofsater vara |
HAM Ratsuatacraaarear |
THe: at qaafe: ara & laChae: |
U(X) AIH WW HT Zazrraarad |
End :—
Wt Aa Cadlaa Aa wy UfraeAat |
+ + Rariarars ++++++4+4 |
I.
7B, xaaradl areataarar atafcaat aeqat |
Post Colophon :—
fad, qfsatcfaraat: arate |
Beginning :-—
yay afrat ara Saad TATE a |
wariaaarat ¢ Fa VaUAtiety
a AY: eet Aa Wal!) Atathratre: |
ey: grat Hat ATT TAT UT: GST |
Lind _— ~ .
at yat ueat vat A Aa A WaT ay I
pp poe AATAT FAT |
AT WaT framiaa(?) fazda gafeat
4716C.
7384.
10x 5inches. Folia,8. Lines, 9 ona
Substance, country-made pape:
Date, Samvat 1897. Appearance,
page. Character, modern Jaina Nagar:
fresh.
( 502 )
Two dictionaries of monosyllables used as words with
interlineal notes.
J,
By Amara (consisting of 20 verses).
Beginning :— |
Qe AH: |
faarhmiaatoifa ufaatea cata |
qaty actaaaraat ATHATEAAT I
Bi Ra: at aaafe: ara F: BrEchar |
HUUUE-w AA Zazraaaract |
Hind :—
2B, at aaa st faura a ee etafa afata(at) |
a: Wa ctatlea are wa feaAat |
SICIG EAL MICICLIRcSC ICCA CIM
Colophon :—
fa Faaraet aaarat Ayat(a) |
II.
(Consisting of a century of verses.) By Saubhari.
Beginning :—
yay gfaat ary 2@q2@q carufa |
waTIAHaa F Fea Bavgarfeay |
a A! WHET AST Vn Atatfaataa: |
wey: Tia Aa: ATA ada: ya: Tat |
Lind :—
a Ug: FY ata (?) wreeat alwxait(?) Fat |
at wat frarate fassargarfeat | yoo (2)
Colophon :—
Kaa ATSAMTAATA Shrfewat wy |
(
( 503)
Post Colophon :—
daq yseo tt fafa afin afe e281 fafed caatas
ysaTa || TIA aastay fedla ava craryE aw Blea,
etc., etc.
4726D.
3380.
Substance, country-made yellow paper. 16$x4 inches. Folia, 4.
Lines, 3, 4, 6 on a page. Extent in Slokas 40. Character, Bengali in @
modern hand. Appearance, fresh.
Four works combined.
I. weqrfuraa |
Begins :—
AY AQqqeraisa |
THAR A WATTTS-BH |
SH UMACIHATA IAT CAAA | |
Lind :— 3 |
3A, awe siefaaa RawtaParee |
LfaTMISHAALT ATMUIHTTT |
TAR TITHAM TITARAASTSAM |
It comes to an end in 3A.
Colophon :— |
sfa deriva FATA |
Il, xvafiearaa begins in 3A and comes to an end in 3B.
Begins :—
aafaafaman Tavares: | |
End :— |
3B, aR (2) mista we: AT atraatafaat Ue | |
Colophon :—
ta cvafauld FATA |
( 504)
III. Then follows AAAAHTH:
It ends in 4B.
Begins :—
afaat TUNA age gary i
ard Cafe when: way ge Wala ATAG |
No Colophon.
End :—
IV. Then follows azz CTF ARTE: |
It contains only one Yeres. (Il and IV are same.)
47494.
10448. AAT: | Sruta-bodhah.
With the commentary entitled Subodhini.
By Manohara Sarman.
Substance, country-made paper. 10? 4% inches. Folia, 12, In
tripatha form. Character, Nagara of tho eighteenth century. Appear-
ance, discoloured. Complete.
For the commentary see L. 1715. It was written at
the request of Raja Manikya Malla.
Colophon :—
afa alas fa forte freteauiensaluaae
atftat | -=slaatecuamar waataetat wuatfyatt
ATAT |
4790A.
1126. WATATH: | Divanyalokah.
By Ananda-vardhana.
With the commentary by Abhinava Gupta.
13x74 inches, Folia, 164, of which
Substance, country-made paper.
Appearance, fresh.
fol. 163 is missing. Character, modern Kasmiri.
( 505 )
Colophon 44A :—
No colophon of the text here.
Colophon 80B :—
rararaquatactad WEISTITMF = Wan(qav~e
feata serta: BATH: |
Colophon 157B :—
No colophon of the text here.
Colophon 164, last colophon of the text :—
va ae |
aaTRatg ageaizaatueat-
Uaeea 7 sta ufaartyurs: |
Colophons of the commentary :—
44A efa sacfaaagntatitad wecaataatys wiraFal:]
Waa seta: |
SLA, xfa aeiareacttarrgatactra wecarataataa feta:
Seta’ |
157B, =fa aeTTeacifutaga tata ATVAaRMA Gt Tata:
Serta: |
AFAAUA :-— or quatnafem
Beginning of the text :-—
: de! qeplrarattaaza: |
ara at ayteat quattat set TWT ||
TTA — qrapearanteata feta gaa TASTES,
— qUZEAe WMATSHAT
= fqearal fegaafaat AMAT TUT,
a qa CECTAAL TET WY TET |
qa: — RTA [Trafateta atea: zatte |
64.
( 506 )
Beginning of the commentary :—
S AAT Had ATAzala |
\F aya azaeq yuufa faat HIEMAAT,
aeawg fancaucia areata q |
FATA WATUTA vacua uraafa aq,
qq afraageare fanaa |
=
= a _ a}
auafafeq-ucarqcaamicaufaafcaraifa §=6areqre-
AAU a awa SASA-AM- aaa TAA TH TATAT
WReAg waaay oaafa shan: a@fa
ayfaat: aa at Fars AVEE-itaT sraeata Karte |
Lind of the teat :— |
a -' > Be
ae aa: qufcoataat weet |
qaattd wecateaansat-
trmaeequa sfa ufuarfirata: |
End of the commentary :—
Lo7A, warg frafeataa + 4+ 0+ C+ Yau feanegqTaTe-
awaits a: Safefa gras au fat Fos angie raRAaTAAAs
fra | Renata Te farrafa |
arafaatat Vetat reatatacttaar |
factuafoat ae area wears |
Commentary ends with the third Uddyota and the text
of the fourth Uddyota begins with the comment :—
ae aqeueta | waatwatirat gaa wa fea |
Dhvani-kara is an unknown author. Ananda-vardhana,.
the court Pandita of King Avanti-varma of Kasmir A.D.
5
y=.
("5077")
(855/6-883), is but a vrtti-commentator of the Dhvani-kara
and Abhinava Gupta, the well-known Saiva philosopher, is
a commentator on Ananda-vardhana. Abhinava Gupta is
a disciple of Bhatta Indu-raja.
Authorities quoted in the teat :-—
ifs, USteS!, HFA, HI, HHQYRA:, UTAHE',
amatht:, waar | aera, afars:, arent fat:, ATA!
Hxamples quoted from :—
cara, fanaa, area, wards, wrat-
AUTEATas Ug, FURTAT, ATAATT,
atfactae, waufed, efufand, werrafed, LaIaye,
AWdeit, asa, agayafana, TeTAIeA, AKT
aTeh and HARRA |
Authorities quoted by Abhinava Gupta :—
Bwaeqaty:, vcagfanfath:, ugtge!, aA, Was,
ugar, HFS, wgZala!, HAAULAYS-AATAAMT,
wfaad, fades, waeefengRaMaate:, and
WTATA aTEte: |
Examples quoted from :—
azuata, urareteteea, dfaerfaar, la gNTy
qaqa FUT HSU, alfeatte:, FA Ma, TAT-
aaa, TAA, HAUT, HAI, cagta:, aTUa-
qua, and Fawteete |
AQO4A.
10791. Baraat: | Ujjvala-nila-manth.
With a Commentary. In tripatha form.
Substance, country-made yellow paper. 15x5 inches. Folia, 16.
Character, modern Bengali. Appearance, fresh. Incomplete.
|
( 508 )
The commentary begins :—
aati aoa | atatefe: wema |
SATATAAT BY TATA Atala Bataa: |
Saag: ata Bteut waacfa: |
ate fcufacared( cea )faatt aa get certs |
waquataamt AY aTaastaayat fazfa: |
4915B.
6998.
Substance, country-made paper. 8}%x5} inches. Folia, 15 (by count-
ing—there being no leaf marks). Lines, 18 on a page. Character, modern
Niagara. Appearance, fresh. In unbound book form.
The MS. appears to be defective. It is a collection of
Sanskrit slokas in bandha, the letters of which are so
arranged as to be put in diagrams; and there are various
diagrams such as a lotus, a disc, a club, a sword, and go on.
Various kinds of acrostics.
4AOS4A.
4098. AWZHRAPSAT | Nataka-candrika.
By Rapa Gosvami.
Substance, palm-leaf. 16x14 inches. Folia, 26. Lines, 5, 6 on &
page. Character, Udiya of the early nineteenth century. Extent in
8lokas, 700. Appearance, fresh. Complete.
see L. 3160.
4940A.
1176. WaferartaAt | Prasasti-hasika.
By Bala-krsna Tri-pathi.
Substance, country-made paper. 94x4 inches. Folia, 27. Lines, 12
on @ page. Extent in slokas, 900. Character, Nagara. Date, Samvat
1877. Appearance, fresh. Complete.
eal aaa
a! =
Tr.
————
( 509 )
A letter writer.
The author is Bala-krsna Tri-pathi, brother of the well-
known Kasi-natha Tri-pathi who wrote in the eighteenth
century a library of works on ritual. They are sons of
Bala-bhadra Tri-pithi who settled at Benares. Bala-
bhadra’s father named Goraksa Sarma hailed from the
Northern side of the Sarayu.
Beginning :—
aa nuufa 24 wafanfaatare | -
TR FT HRUTATY AAIATPATHAAARA |
yurfaattarat feat aaa Ta |
aaaquantea aaara fatfsat
Lt ends :—
. sa uufeat frat eae SAaThTAT |
raaqes sat furfsataes
azar: eaayufrfa: weet AeA:
aqua tarafeadcaeTeMea WaT |
a aaagfeaata REI ICECLIGL EE
Wifey: RAAT: ghraccaeaaaat TATT 4
® adh qaux ua fafea wefeseTTATeaTg
afare: uecreareratatettattn: SAA |
shar ae aes gM AT STS:
RIAA AM Ks AE VS Wa WAT Wat |
aqua: ai far ]atars aaa (? falda: ze ay:
sfasinaute: wateaateat aafeaqrtaar |
qaaaaaaataataacas Tate AAAATT
RTMATAIAT a: ARHAHASE: RIAAMKY Ca ||
ARIal Thaat Wat PIM fArAtTAr |
fauataraaats wetrafaeae |
a
————EyEEeEEEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeEeaEeEeEeaEeaeEEeEeEeEeEEE—S
( 510 )
aot afatiaratsa Staaha atfaa: |
uaa Wersa Basted ufagat: |
aa alfa Haes can qfafaaarea |
afaara (?) sgerg ufasar: arpaam |
Colophon :—
tfa =tfautfaaramanfacfaar csrfeaatfarat sara |
Post Colophon :—
Stdaq 7sso wih 198 alfiaerTE © cat fafad
faaARuIcTAaM |
4943A.
1329. aafaufaar | Prasasti-patriha.
Substance, country-made paper. 1045 inches. Folia, 29. Lines, 8
on a page. Extent in Slokas, 450. Character, Nagara. Date, Samvat
1909. Appearance, fresh. Complete.
On letter writing.
Beginning :—
SU AT aMATA AA: |
wat wats Aq wafaufaaraa |
Te TRAUMAS Aaya |}
wuifeattrat feat aaa Taya |
aaaiquaniaa Saara feurfsat |
aqurata quia aaa: Hreatfeat |
faga wafaaifiuatara ouaferat |
Ends :—
aalrenigaragga
ween fagauaTaa |
AatquMTaM gee We
q Is wataafaaatiaang |
( 511 )
This appears to be a shorter recension of the previous
number.
Colophon :—
xfa =losfeufsar SaIH | A Had HAM wood TAF
FM Ll Wale wyatt feed | eaters | Al<ea-
HATS AR: | lata saa AA! I
A943B.
6639.
Substance, country-made paper. 11}x5}inches. Folia, 5. Lines, ll
on a page. Extent in Slokas, 130. Character, Nagara. Date, Samvat
1870. Appearance, fresh. Complete.
A letter-writer. Anonymous.
Colophon :—
afta TWAT: |
Post Colophon :-—
VaaMT R WaT (Soe |
aguaaratataatat aq fafaga fated Fars |
aaa: ufemtetts att A AT SaeaTT+ +
sty oat
We find in 4A :—
Alataatadtant yfeaataead St Hat |
Atarfa] aaquiiret gotta: ataars: aT 1g
‘ ,
*
*
’
. oA
a ‘
; *
~
\,
: .
‘
J
‘
, ‘
e ,
4
'
; )
' .
‘
-—
‘A
af
y
/
> 2»
wy 4 : pe Lr
‘ ’ a4 , 7 ; ms ss
4 ae . WAN -y . -
_ ~ -) in aie a ee ii a oe eT ci eee SS ee eo ——— fe ND > > eee an POS
INDEX.
J
afacaifcar, 4598—4600.
afazaifcaretat, 4598—4600.
aararyacaacatger, 4693.
waareanra:, 4710.
aaa rytafraacy, 4711, 4711A, 47224.
wagwagc, 4721.
waTarygye:, 4692, 4693.
waapifagaaeyr, 4912.
save aisag, 4618.
afwyraatsar, 4704.
atiyTataarata:, (see Zaata:), 4690,
4690A, 4691, 4691A. Add.
afiurraiyadt (wacaraestar by axat-
HX), 4662.
afryiefaaizar, 4802.
—HataHrTa:, 4632—4652, 4657, 4658,
4665—4667, 4673, 4683, 4685.
wataratget, 4680.
wataraetar (by aicarat), 4657.
wacaretar, 4683—4686,
wartarigizaa (by aicarat), 4656.
Hacizyia:, 4682.
BaEITAtEy:, 4870.
Bapgicatrauerat, 4871.
wugreafsanr (paaaraxetar ),
4890—4893.
WaRitaAel, 4903, 4904.
BaRccaTat:, 4855.
WURicca HASTA yrs ag AAA,
4856.
Ba_grewaet:, 4787, 4788.
WaRicaey7s:, 4905.
wWupitueqay, 4850, 4851.
65
sep icartfafa:, 4895, 4896.
WAFS ( FIMTATA=Stat ) 4889.
Wwagmiereuma, 4852—4854.
waght: (afmiatasrafcctar), 46904,
» 4691.
waary:, 4608A.
| BA ATHTI: (by west), 4363.
wat ween:, 4497.
ZT
qiegqradtsar, 4587.
aqraqrataais:, 4613. .
i j
gunwawatu, 4904A. Add.
gaseareaatusta, 4904A. Add.
gurfsare ( ofawarca-sitacefr: )
44.70 —4473.
surfef: (by GARMAN), 4358-~—.
4360.
guifzata: (ata), 4394.
suifzagufa, 4595A. Add.
gurfzead, 4357, 4595.
sufeaseta, 4595.
GASUIaAT', 4527.
sugmudae:, 4611A. Add.
wsaqgmia:, 4611 B. Add.
sqanindye:, 4611.
guymwaaeetar, 4611.
gafaaa:, 4728 I.
q
waracare, 4712—4715, 4721, 4729,
4726, 4728 I, 4731 VI. |
‘
a ee
( 514 )
|
~—aitaa Pear (by CTaas), 45514.
waracfang:, 4716A.
“RR, 4537.
earatfiyrag, 4716.
walaat, 48598. SIRaTTTC: (a RamaTE), 4502
- | RITATAIE: (by weaafinn), 45374.
3T | SITATHIG:, 4578. 4579.
RAR: 4541—4546.
mIaAaTAST, 4910, 4911.
‘ SAA Zar, 4906—4909.
. | RITTATI:, 48192-4817. 4819, 4833,
azZq- 484].
RTT TRIT CAT, 4809—481 1.
ATqIays), 4335.
Raa: (by fatrafa) 4384. RIA wetar (Tazq:), 4818
RATHI HT, 4819, 4821. 4929,
RAveaaaya (Aaaaefassiar
by twa), 4391. 48344836, 4840. 4841.
aearraracny, 4370—4374, 4375A. = RATHI TET, 4848,
meta fray (sIyaracuameta: = by | aiaATawetfyaRr, 4838.
far), 4564. MATH Ute WAT, 4820.
marrRe:, 4932. aya wtaaifcar, 4831, 4832.
RIATH Weasqia:, 4810.
Sera Parra fir: (by AAATaT), 4627.
aT (Aqracafaaraayaiet a by
Coens “See
——
ataraeazH:, 4538—4541B.
afameaaar, 4794—4798A. aaa Mareen, 4844, 4845.
ataarea rarer, 4799. aIqAIT:, 4823 4896.
ataataar (miata), 4846. HIATT Zia:, 4827, 4828.
afaceaa, 4805A. alataara:, 4901, 4902.
afaacimetfoar, 4915A. HIATE:, 4789, 4790.
alTaaaarsart (by craets), 4383. Haqraaatfrmt, 4849.
alaeAYIqas:, 4366. afar, 4213A.
Alaa yd qztm (see Hata by Taare), alive (by saftey and alaaq), 4231—
4393. 4235.
alaaratcfnaza, 4385—4386A. alfraraataafamt, 4213.
araraaatcfuaada, 4387. alfuarfaqcmafsar (by fsrtqata),
aracazin: (by gatas), 4368. 4236, 4237.
ararazfa:, 4370—4374, 4375A, 4381, | FawaTa=:, 4879—4888.
4405A. Haas ia=zawaa, 4895, 4896.
alaraztactar, 4375. FIT Aaqa Aiea, 4894.
AAA, 4402, 4403.
araeaeraatsat, 4376—4381.
4366—4369, 4387, | wwafaane, 4705, 4705A.
RASA,
4405A. fRaraeaty:, 4593.
areata, 4399. faaiara:, 4726A. 4726B. 4726C.
frarfrare:, 4588.
HHaaT:, 859A,
4
\
(
Treantaagag:, 4517.
AIS qa (by ura), 4365.
walca feat, 4350.
T
Wimygrer, 4241, 4242.
WITS: (by trawar), 4356.
JWUMFICATa: (see Hiyaqtrsar), 4909.
URaTay, 4248.
Uftaaefn:, 4244.
Was sareratyer, 4486.
a
Wathaaarafu, 4934.
daartcar, 4857.
Waren, 4860—4865, 4867—4869.
VarararawATCerA:, 4863—4865.
apart cay (areqr), 4417. II and III.
a1yefh:, 4414—4416.
WiFwaa, 44144416.
aisaratmy, 4411, 4412.
SsaracMstaHr, 4412.
STS HRCMETAHT (by firacaate), 4413.
aeaemgiqe, 4612.
Faaa@tater, 4874—4877.
Mra aiesiaerdgaficar, 4878.
efigaiar (by aqarquays), 4291.
Q
Rat, 4785, 4786.
RV aArquUsrar, 4785, 4786.
RUTA CIC, 4783, 4784.
RVG TAT:, 4774,
RWI, 4743.
RaW aah, 4743.
RAAT, 4765— 4771 A.
515)
| eaiasel fea), 4772.
| SQA AWE, 4773.
Beta, 4775.
erar (ctaataieietan), 4933.
ST
STHITHS: (?) 4732.
| sifaareay, 4936.
sents
—
SIT (RVGTHCS aH), 4774.
cA
Sawae: (aaa by walae-
az), 4658.
u
mAITHE:, 4731V,
aq
qacifiat (ferafgarare: py
waAMAT), 4458S—4463.
awmacrart, 4839.
awaityat, 4293—429¢.
afeaaftiee (fara by zaPhes),
4474, 4475,
amaqara:, 4238A,
fase ve: (arfwata:) by a Buddhist
author, 4362.
faarwms:, 4653, 4654.
e
omy (FaACT-feerRIMTS a), 4399,
ZWAIGHUCAT, 4498, 4499.
zwerd, 4803—4805,
ZUSIMATAR, 4803 — 4.905,
qaqena:, 4515, 4516.
eraraarszaiy: (by FUT), 4990,
SAMTAATSTAA, 4597.
eit ie és
lgqeahsar (wHTHITarer by CIAFAz),
4659, 4660.
and, 4672.
Y qztigng, 4596.
| qemagafmar, 4397, 4398.
qziygalqet (by aitram
xaaaracngy, 4576, 4577.
feeqare:, 4717—4719, 4725, 4731 1V.
yaqiza (by metTATA), 4369.
qmamt),
Higqettaar (afanmazaetai by zara), |
4547 — 4549. — =4669—4671.
wiquia: (by Haat), 4351—4353. qzragpafaar, 4800.
wiquia:, 4355. acaaaieaad (by aqmuifm), 4254A.
wiqare: (arearacmia:), 44171.
yiquia:, 4591.
yIq3¢ata: (by Aten), 4354,
wigaact (by #rattara), 4551.
wIqeaqiadt, 4594.
yiqedamd, 4348.
eqeqretta:, 4790A, Add.
eqeyremetar, 4790A. Add. 4344,
afcmuziacaitrar = (by aagara
qcHaaa AI (by alae), 4334.
ufcuras (by ayaiv), 4557. ai
| afaararaie:, 4335 —4340. ;
| ufcuraiefa: (by atcza), 4541, 4342
gfcuraiata (by Farah), 4558—4560.
gfcuraiaaa (alata), 4367, 4357.
yfcugez rat: (by anisttyz), 4349,
i
o_o
“Al uray), 4345.
aaicua:, 4728 IV. afcfaasan:, (by wotare aaa),
aaaaiy:, 4726D, Add. 4337C0—4390.
afcaafag ricaReC ( araraqarerae-
afzamacariaar, 4213, 4213A.
alzanataat, 4934A, Add. Sar by feat WHAT ), 4392.
i
ararataraaact, 4720, 4723. ulfafaemaad, 4249. t
araratad, 4724. arfintaam:, 4214—4215C. 4)
aTaaMezars:, 4706. arfuataam, 43564. }
aTHHIaT, (See FICZTATHHTST), 4696. qifuatarais:, 43565. |
aatara, 4631. arfnatayTgyis:, 4349.
frareqaa:, 4732A. arfuaraagrcurat (by atts), 4337.
vara: (by fat-qafa), 4236, 4237. qagaurgneraraacay (by araitsit-
wqaaaqs:, 4238. wz), 4223.
qagansrraa, 4217—4220.
Yq aiaravars: = (bY faeTcreauers),
Gaara, 4709A. 4622, 4622A.
uerqad aie, 4687. aicgrasara: (by Te1FCA), 4622B. Fi
ufsar (by freq), 4250, areairare: «(by aerwera), 4622C, ff
qaatyat, 4938, 4939. 4622D. Wf
qeaqtaar (aitaanraetar by afar | gicatrarmel ar, 4622C, 4622D. .
qr), 4443—4445. aca rant etfaarte (by aAsFIAM), 4622E.
3}
(9517: )
fraeraaa, 4748. | sreasarse (by acehy), 4623
Towaetar, 4747. (aTaarareth (by wae), 4624,
Tower, 4751. 4625.
Tarearcfaaifirat, 4749. qaqyiacig (by FIs), 4628A. |
foraryate:, 4750. | WaAdsAiaat (TIACISTAT), 4626.
atzar (wacarastat by cHAMeifaa), | WaT, 4628.
4668. WAAIARSTHT, 4628.
Wagar hears, 4620. Weaatat, 4271—4277.
Ta yarawt (by Sifcaanat), 4300.
FHM (Hrayqarwetar), 4833. TH
watigare: (araryStqarean), 4320.
» 492
afmerreta St, 49514253. afaaretn, 4230.
atraratqgastar (by ata), 4954. q
aetqafeart (by aha), 4361.
Wa PsHr, 4570—4572A. qaratget, 4915.
TH (eratenraren), 4228. aM AMAAN (HlaeAy), 4387.
war (Hraqatqarer), 4829, 4830. granary: (by acett), 4364.
quIaat (sce aicadlefrataat, 8X areaaiyat, 4528.
watetat by Fatale), 4442. qrearwranqegm:, 4780.
TyATETaAAct, 4589, 4590.
saat faar (agama), 4561.
| 4
WawyaA aTCaqa TS), 4408, | ~ ~
rin tT (see wrayer (by Feary Wayw), 4283.
; | wraraatfaar (eacaracsian), 4764.
satrgaetar, 4408. wrarefa:, 4245—4950.
Wiataarear, 4580.
|
|
" wraretautsant (by fageu), 4250.
ei (areequTeeta): nee | wrggyatdiea: (by ariisitwe), 4223.
Wardagaren (acesqree), _eamsrcatar, 4330.
Tafa, 4944. |
aaa RCH, 4942. 3
TH firs, 4940, 4940A. Add. 4
Waster, 4944. aya (by aww), 4268.
SnTTa Paar, 4943. Add. aufeermatgal (by acacia), 4265,
where fiat, 4943. 4267.
gqacud),
wat (see TAA aufasraratgat, 4301—4309.
4 “
ecg aaa (airraageta by TaraTy),
“trary, 4783, 4784. 4393.
31 4746 £745-—— | 4
neq 4198-5 be? aaa (BATATIS TAT), 4661.
AaMryy, 4229.
Wea rasa, 4782.
( 518)
aeuraqety:, (by Raz), 4291 4999. | cqagetafcua:, 4926.
AUIS Gala: (by arate), caagctaarm:, 4928—4930.
4222, THA BUA STUSTA!, + 4927.
ne |
GAA, 4655. —caararar, 4935.
arate (by THA SIA), 4523
waawetar (by zatera), 4525—4597.
qatar (by aifisafaara), 4529.
4530. |
armaaryrutciaa:, (Same with Cat. No. |
4535), 4527. |
waasatcfaga (by aITaT), 4532—
4534. |
aaaratctazy (by a=fanc amar.
WzIFTA), 4535, 4536.
qaqa mACMA, 4518 —4599 |
PaaaraAcMstaAT (by Zate1g), 4524. |
weaityat, 4673—4675.
afeatary:, 4699—4703. |
a
aaa aca hi: (by
4365A,
Fequitezta: (aga), 4562.
ast aaatasiwaia:, 45297,
ToaAMY sd),
t
CHaTaa Tad, 4573.
Taatm:, 4703A,
CiaTaT, 4681.
Came Caw, 4239, 4240.
Cal, (A*aTeTHSTAHT), 4868, 4869.
caalgar (aqua) 4931.
CaTFTYU:, 4898—4900.
TaatfEMt, 4916—4919,
CIARIM: (HIaTIHATMS TAHT), 4842, 4843.
CaHRTT, 4920—4925, 4928.
CaHscietanr, 4924, 4925.
crane, (Sala raztar), 4866, 4867.
| xifaraiva: 4726D, Add.
aeragicfeamay, 4801.
ew
aaaqracnfagraaga = (by alam)
4331 — 4333.
PAN ALAT, 4277.
aan car, 4278—4282.
sareatat, 4284—4290.
| aafyarmat gat, 4310—43 15.
aquaaetfuar, 4.606.
aqaaiaifaarztar, 4
fagatfuaay, 4630.
fan 2fa:, 4629.
fartfeauefenat, 4677— 4679.
Gagifedaqerat, 4676.
aqrayaranra:, 4707.
4606. |
q
amctatat:, 4857A.
qeaiadae:, 4566.
aguiqaifcar, 4500.
aguiqaitcarerat, 4500.
qTaaaita:, 4581.
qreaqera:, 4317.
araarary: (agatwara) 4319.
qreayelqetar, 4319.
aTaaqet agar, 4318.
qTaMETaRI:, 4791, 4792. ;
TAM HF Taare, 4793.
qIXRGHAS:, 4406, 4407-
afimais:, 4216.
i t ~ r . ee a a wwe al —
: - SS ae ee 1 5 ad ~ re ~~ ewe “|
( 519 )
atfamarar, 45518.
fazia=:, 4399,
fagwaical (srmaformetar), 4748.
faaizalgey, 4243.
fafamaTaHage:, 4695.
EU
—warcve: 4731, I.
weaeuz:, 4705, 4705A.
weatey:, 4224 4927,
faawaiz:, 4688, 4689. | weerayare, 4336.
faqwraaa, 4655. wezHerare, 4728 V, 4729.
atcfaweraay, 4941. Wetarau:, 4575. ~
wearyaeae:, 4601.
zazumy, 4781.
ZnqmAMaeat, 4778, 4779.
aaulfaanay, 4752.
eats IaAt:, 4753—4756. W-4-W- We, 4727.
aacaiac:, 4759, 4760, 4760A, | ftarany (ararataa), 4367, 4987.
4762. | farmdra:, 4582.
wryaifyat-araarer, 4709.
ywritfaaaa, 4800A.
wegrsaiaat, 4404, 4404A.
W-W-Hequyaa, 4730.
LE OC
_——— se
BUCAIATS AT, 4758.
BUCaIHCaG:, 4760—-4762.
BACATACTIZW:, 4763, Ten TR Tay’, 4937.
ancaraeat, 4776. WesaTTieait:, 4694.
aafaaaaa, 4777. | aretawte:, £621.
afaaifiaa, 4897, 48974. aay, 4733—474 1. i
afenstaat (Tre tmat_sy ar) 4256 Aaa, (Here attributed to Vara- |
4268. "| yuei.) 4742.
c T 3 AE 2A. Add.
TaraCUTHA RSS HT, 4229. qaaty:, 4742A. Adc
aATACU US CATA, 4614. a .
aqracufeRrqsea:, 4574.
aaaHCufeR aay ( by aluswe ) yartaHe:, 4731, I.
4323—4399. yearcaa, 1516. Add.
yzaremerar, 4400, 4401.
tacifssramzeTa (by Hari-val-
qeartatematl, 4583.
labha) 4329.
TaaRCa PEE TAS, 4333A. Add. tT
Taracmfyeracarac, 4292.
AMWACuaway, 4619. qaicfama:. 4728, Il.
aA faar (by waerweaa), 4488-— | qarce:, 4731, IIT. %
4492. dfavatt:, 4464—4471.
ATHILE TTA, 4493. dfanatcfemat, 4487.
Weyeywreqay, 4223A. dfararcztar (by arava), 4469.
averey, (by «crawgraa), 4663— dfanaxaiar (by waa), 4469
4667. | 4476—4486.
( 520 )
afanaiccaaatara: (qrmarae:), 4495.
afaaaiceta:, 4469.
ataraat: (by sata) |
447 0)—4473.
atanaiefn:, 4477. :
afaaaitiammagiesiar, 44.94.
agqifuaraa, 4726D. Add.
* dsitaat, 4751 A.
aeadaray, 4615.
qmaagut (by san), 4616.
qmAHAct (by canara), 4617. |
dense, 4617A. Add. 8
afaareuta:, 4501.
ataqreufmetar, 4501.
gaaqma, 4585. ‘
aaqufata: (aicaqdaeztar), 4407.
qtaatarrcaaifcar, 4806.
atadiarmcnastar, 4808. bh
acaataaa, 4418—4421.
quads! = (by ataanfescts) |
4422, 4422A.
Bitaiaraaiea (see areata), 4696.
aicfaug:, 4405.
aicaettaat (aicaaetar by smaTa),
~ 444).
grcaituat (arasanrnetar), 4847.
qrcaaetat (by gas), 4439—
4440A.
aiceaatimat, 4422B—4438.
aiceaaaimaitaatteeta:, 4446, 4446A.
arcana, 4445.
aicaawwsiat, (see weufsar
Tifazratay), 4443—4445.
aice@attuytaa, 4731, VIL.
aiceatefuufaar (see awaTadt by aa-
Ta), 4442.
aifemaumy, 4858, 4859.
wifeatarac:, 4872, 4873.
fqeutcurat, 4346, 4347.
|
—
by
| fannie lqerae wren ear,
| fazimatqetztar, 4268.
| fagimatsar (
| feezsnqaihamiaVS aad
afa:, 4504—4512.
fazzaaaifyiadareiraniaaett,
4503.
| Fama=:, 4399.
fanimamlyet, 4255—4268, 4270.
4299.
fanraaliqera-afenmacmy, 4269.
faaraaiqeta afenafaretar (by A4-
RMU aAt), 4268.
by Trae), 4447 —
44574.
Taaraagy (by @imvnarz), 4265.
gaatuat (araqarnetat), 4837.
saat ata: (2ncaracetar), 4757.
ayT (2ucaracetar), 475%.
aurea, 4556, 4565.
qrqwace: (by fafa), 4554, 4555
aqqaiacma, 4552, "4553.
| gagrayiqare:, 4553.
waist, 4297, 4298.
| gaityatt (Rrarara haenreya by wala=
amt), 4456—4457A.
eafuat (qaaaetat), 47424. Add.
aamatiqar (by araraiaat), 4492.
gauzuz:, 4496.
aaaatmar (agar), 4563.
gareniaat, 4602—-4605.
waaay, 4216.
wauymat, 4418—4421.
wagicaracuy, 4399.
aaratyat (2) (argeraetar), 4414—
4416.
aquae:, 4531.
FSTSCUTATSA A HBINCATA!
quater (faaraatger
wrat), 4268.
frat, 4807.
by waa:
5. A
C pak, ™)
Mewes, 1322.
Meas, 1321. e
Rreare: (by arr %), 4268. witaaiwaaraceg, 4567—4569.
Wea quistaacwy, 4514 wicrawt, 4697, 4698.
Brosyy qa ryay, 4515. THATU (see afiytataarafa:), 4690,
allele iawinataacqy, 4515. 4690A, 4691,
TATA: |
Qracuiat ati, 4365B. aque, 4609, 4610.
aifaa WaCWSTH, 4365C areca, 46144, Add.
sifazarncusiar, 4365). qracuy atafea qarfy, 46214.
| Tayqrs(HR HIGUi|:, 4550. waarmee, 4708.
apancmtauaya 45510. varacaivey, 4716B. Add., 47160.
rcmraaie:, 45834, Add.
RICH SHA Ca: 4584. wayiefaraa, 4913.
PEUAIAR: 4586 4596. wAVMHIaTeaT, 4914,
pq aswany, 4592. ygaaifeaq, 4915B. Add.
rarest ITEUIMR, 4.597, area, 4935.
aifafarrereare:, 4607, gurfafaraay, 4943B. Add.
farts, 4608,
~
~— —™~ = —™~ a PE ee
: CatcuTTa: Published by the Asiatic Society of Bengal and Printed by
| P. Knight, Baptist Mission Press.
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